<p style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/cd31af8886ff4aed8dac250356823e07sven-ulrich-circus-fence-ingame-03%20%281%29.webp" class="custom-image hidden-thumbnail" data-id="cd31af8886ff4aed8dac250356823e07" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/5ef85e21ef9a4296a431dd05a4aace93sven-ulrich-command-tent-ingame-03.webp" class="custom-image hidden-thumbnail" data-id="5ef85e21ef9a4296a431dd05a4aace93" data-width="1920" data-height="1080"></p><p style="text-align: center"><em>In this exclusive interview, </em><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgGKNo"><em>Sven Ulrich</em></a><em>, Senior Hard Surface Artist at Crytek, shares how his team leverages Marvelous Designer to build immersive, believable environments for the dark world of </em><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.huntshowdown.com/"><em>Hunt: Showdown 1896</em></a><em>. Whether constructing modular fabric fences or rugged command tents, Sven breaks down his production process and shares essential tips on art-directing digital cloth.</em></p><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/_3mTLRaZhcw?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1><strong>Could you please introduce yourself and share a bit about your role in the development of Hunt: Showdown 1896?</strong></h1><p>I’m <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgGKNo">Sven Ulrich</a>, Senior Hard Surface Artist at Crytek. Whilst I’m in the Hard Surface team, we’re split up further into two teams; weapons and props. I’m part of the props team.</p><p>I act as a connection point between various departments, such as game design &amp; environment art, making sure the needs of both are met.</p><p>As a prop artist, I’m a bit of a jack of all trades, so I’ll have to adapt when more organic requests come in, i.e. in the form of cloth-related tasks, or other more organic (literally) tasks.</p><p>My usual focus is on creating either event-related props, reworking older props which aren’t up to par with the quality level we’d like, or simply creating the assets which are required for new gameplay ideas.</p><p>Sometimes this is through own initiative, other times it’s through Game Design or Environment Art requests.</p><p>The day-to-day work is phenomenal as each day, and each asset brings its own, new challenges which must be solved. This is especially true when you’re given more complex tasks and need to end up with a shippable asset. It’s like a big, complex puzzle which you figure out step by step.</p><p></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/4a9709d02bc447488acf0f491f1ce0ad3.asset_railway_crate.png" alt="4a9709d02bc447488acf0f491f1ce0ad" class="custom-image original-size" data-id="4a9709d02bc447488acf0f491f1ce0ad" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/964dfeefa0774e509995fb15dabc1bfe2.asset_command_tent.png" alt="964dfeefa0774e509995fb15dabc1bfe" class="custom-image original-size" data-id="964dfeefa0774e509995fb15dabc1bfe" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/bc2be530393544b9b31132baf919c7061.asset_circus_fences.png" alt="bc2be530393544b9b31132baf919c706" class="custom-image original-size" data-id="bc2be530393544b9b31132baf919c706" data-width="1920" data-height="1080"><br><strong><em>“Examples of assets in Hunt: Showdown 1896 which made extensive use of Marvelous Designer”</em></strong></p><h1><strong>You created various environment assets like fabric fences and tents, how did Marvelous Designer add value to the project's world-building?</strong></h1><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.huntshowdown.com/"><strong>In Hunt: Showdown 1896</strong></a> we like adding cloth here and there since it acts as a visual way of adding resting spots for your eyes. Lots of high frequency detail means the eye will be fatigued easily. Especially in a game where attention to detail matters during gameplay, having rest areas for your eyes is crucial. At the end of the day, it still has to look believable though, which is why we opted for Marvelous Designer.</p><p>Whilst tools such as Blender also have cloth simulation, and they’re not bad, getting the accuracy and realistic folds dependent on the fabric properties is incredibly valuable to our work.</p><p>However, the most essential difference between Marvelous Designer and the likes of Blender cloth simulation is that I can continually tweak the cloth, I’m not bound to simulation frames. The plethora of tools/features I have at my disposal to art direct the cloth in the way I need it to look simply outshines other DCC cloth simulation workflows in my opinion.</p><p>Therefore, what I like most about Marvelous Designer in our pipeline is that it gives extremely quick results which can be iterated and art directed very early on, so we don’t have to spend a lot of time tweaking numbers, adjusting sliders, etc. – it’s a very artist friendly approach to making cloth.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/8c5071d775224bab894c19e038656b946.art_direction.png" alt="8c5071d775224bab894c19e038656b94" class="custom-image original-size" data-id="8c5071d775224bab894c19e038656b94" data-width="1710" data-height="1091"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/ffc65bfdb7ae434faa0802c5eade8cab5.wall_pieces_exploration.png" alt="ffc65bfdb7ae434faa0802c5eade8cab" class="custom-image original-size" data-id="ffc65bfdb7ae434faa0802c5eade8cab" data-width="1603" data-height="1127"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/c34a637a7165427eb0c8e9a5b7f536534.blockout_day1.png" alt="c34a637a7165427eb0c8e9a5b7f53653" class="custom-image original-size" data-id="c34a637a7165427eb0c8e9a5b7f53653" data-width="1128" data-height="683"><br><strong><em>"Make something exist first, it can be made good after"</em></strong></p><h1><br><strong>[Modular Tip] For the fabric fences, you used a single asset modularly to complete entire scenes. Do you have any tips for designing modular assets in Marvelous Designer?</strong></h1><p><strong>Freezing</strong> is my favourite feature in Marvelous Designer for creating modular assets. In essence modular assets need to fit together perfectly when placed next to each other, therefore where they overlap, they need to have the exact same geometry. Any z-fighting issues were fixed in blender.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/a2e31fa834374b6b8c291770c5552cb67.overlap_example.png" alt="a2e31fa834374b6b8c291770c5552cb6" class="custom-image original-size" data-id="a2e31fa834374b6b8c291770c5552cb6" data-width="1713" data-height="1014"><br><strong><em>“Starts and end of cloth need to be the same mesh, else there are gaps at grazing angles, which directly affects the player experience.”</em></strong></p><p><br>Other than that, the <strong>tacking</strong> <strong>tool</strong> is great, as you would want to have some kind of avatar to pin your cloth to (in the case of the circus fences &amp; command tents, I’ve had very basic wooden poles as my tack-target). It can also help to tack cloth to other (frozen) cloth, so it mimics that underlying shape. This is incredibly helpful for creating modular pieces.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/b85d866b950941a48b8c7ff83c3fbbe98.avatar.png" alt="b85d866b950941a48b8c7ff83c3fbbe9" class="custom-image original-size" data-id="b85d866b950941a48b8c7ff83c3fbbe9" data-width="1448" data-height="940"><br><strong><em>“Using some kind of avatar is essential to producing believable cloth.”</em></strong></p><p><br>For the command tent I’ve set out to simulate a strip of cloth (yellow parts in the picture above), with slight sagginess which would be used at the start of a wall of cloth and at the end. The middle piece of cloth is what would be art directed on. This then allows you to create interesting variations of cloth whilst maintaining the exact geometry you need for the overlapping areas in modular assets.</p><p>The need for exactly matching geometry is further exacerbated at grazing angles where players can see through the sides. Whilst this wasn’t entirely possible on the circus fences, we made sure that this was covered on the command tent, as the circus area was more of a compound whereas the command tent was a small hut in terms of play space.</p><p>Another tip I’d like to share is to learn your <strong>hotkeys</strong>; makes working infinitely easier, faster and less cumbersome. With modular pieces you usually have several variants in the same scene for ease of iteration, and to get a good view of the entire picture. However, simulation times can become quite slow when you have a bunch of cloth pieces in one scene. This is where hotkeys come in handy - <strong>activate, deactivate, freeze, hide, etc. are all wonderful tools for navigating your scene comfortably and efficiently.</strong> <br><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/community/post/d9fffb13e83a401baa91b639c7795f15">(📒 hotkey guide/shortcut guide)</a></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/5f9a8b4addbf4e0fbb47b5a7f12335a59.decactivate_pattern.png" alt="5f9a8b4addbf4e0fbb47b5a7f12335a5" class="custom-image original-size" data-id="5f9a8b4addbf4e0fbb47b5a7f12335a5" data-width="2240" data-height="1136">I’d also highly recommend to watch a few guides on making clothes with Marvelous Designer, as some theory is directly transferable to non-clothes tasks. I’ve spent a few hours watching professionals in the clothes-visualisation industry creating clothes from scratch.</p><p>For example, if you’re looking to create folds in a very specific way, you might want to give darts a try. Darts are cutting out a piece of cloth and stitching it back together. Essentially this reduces the length of cloth in an area drastically, which will create very specific folds. Whilst this isn’t the most realistic approach, it can be used as a tool to give you the visual result you’re after.</p><p></p><h1><strong>[Asset Breakdown] could you pick your most iconic fabric asset from the game and give us a quick breakdown of its production process?</strong></h1><p>Absolutely! For the command tent we’ve received the initial blockouts from our Environment Art Lead, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/rishabnanda"><strong>Rishab Nanda</strong></a>, who made sure they fit their intended use cases. Since our team has done a lot of cloth tasks prior to the command tent, and to support the environment art team we were trusted with producing this modular kit.</p><p>I’ve started out with isolating the pieces I’d use for the avatar (the skeleton/scaffolding of the tent) and importing those into Marvelous Designer. These would stay in my file throughout the project.</p><p>First off, I made very crude shapes using the 2D view, placing them where I needed on the avatar in the 3D view, tacking it in place and then simulating. Just so we could get something into engine quickly. Essentially setting up the correct files so iteration would be rapid.</p><p>Then came exploring different shapes, sizes, etc. to get to a point where we would be happy visually. Art directing folds is a fun back and forth process, as you don’t have precise control over it. However, Marvelous Designer gives you as much control as possible.</p><p>After final shape/fold feedback was given, I split up the tent into the parts which would make up the modular kit and simulate a final version of them, staying as true to the agreed upon feedback as possible.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/986cdbe215ea4c80bcb84e1ed9c3151810.kit_production.png" alt="986cdbe215ea4c80bcb84e1ed9c31518" class="custom-image original-size" data-id="986cdbe215ea4c80bcb84e1ed9c31518" data-width="2630" data-height="1120"><strong><em>“This is the part where playing with the physical properties of your fabric can yield great final results, prior to this stage, it most often is simply wasted time.” </em></strong><br><br>Simulating is only half the work, so after we’re all set and done, and happy with the simulated result we bring it over to blender, where the decimation modifier does a decent job at bringing the tents to reasonable level. We opted to bake the high poly simulated cloth onto low poly meshes with a low-resolution texture, due to the sheer size of the assets. Furthermore, this allowed me to create unique diffuse textures for each piece.</p><p>In engine we added a tiling detail normal map on top, which would give us the fine woven detail, as well as some micro folds to better sell the asset’s look, of a worn down, roughed up tent, fitting into the Hunt: Showdown 1896 setting.</p><p>An alternative to this would be to use a more high-poly mesh and tiling materials &amp; masking, i.e. in Unreal Engine. Since we’re using the CryEngine though, this was the way we handled this asset.</p><p>Lastly, we’d have a final check in various time of days, and areas in the level, seeing whether it all fit nicely, or whether some things needed adjustment. Due to the environment art’s blockouts, we didn’t have to do much in the end, it was very much plug &amp; play.</p><p></p><h1><strong>What is your favorite feature or tool to use in Marvelous Designer?</strong></h1><p>The artist friendly way to simulate things, I can pinch the cloth endlessly without the animation loop restarting as it would do in other programs. I can tweak to my heart’s content until I feel it’s visually where I want it to be. Other than that, in no certain order pinning &amp; tacking, as well as the elastic feature in the selected line tab. This makes art directing folds even easier. <br></p><h1><strong>For other users considering Marvelous Designer, do you have any advice or experience to share?</strong></h1><p>Make mistakes, and make lots of them. No one’s born a master at their craft, in the end you’ll just gain experience by not being afraid to make mistakes. The amount of times I’ve fumbled up a perfectly simulated piece of cloth because I didn’t know of the freeze feature, or the deactivate feature is beyond count. Sure, you can undo, and most often it’ll get you your result back, but learning about other tools that aid in your workflow means you’ll be a more well-rounded artist down the line, you’ll have more tools at your disposal to make more complex tasks, more comfortably.</p><p>I’d like to end this interview with a small piece of advice which rings true to about anything you do in life. Including simulating cloth in Marvelous Designer. <img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/6600f8f5f68348cb9cf184938c01c60f11.baby_steps.png" alt="6600f8f5f68348cb9cf184938c01c60f" class="custom-image original-size" data-id="6600f8f5f68348cb9cf184938c01c60f" data-width="503" data-height="796"></p><p></p><p></p>

Inside Crytek’s Workflow: Building the World of Hunt: Showdown 1896

onlyoffice09

KOFOTI_Female_Patterns

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/ea57f6104ee9450fa27169dc4662a2famd_pic.png" class="custom-image hidden-thumbnail" data-id="ea57f6104ee9450fa27169dc4662a2fa" data-width="1150" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202606/62d7c6e20b5f439fade6598fd25b1036/images/0adb406bab324e8dba6aff8a8ab2e092md_pic2.png" alt="0adb406bab324e8dba6aff8a8ab2e092" class="custom-image original-size" data-id="0adb406bab324e8dba6aff8a8ab2e092" data-width="1920" data-height="1080"><br><span style="font-family: &quot;Times new roman&quot;"><em>2025年10月より放送されたアニメ『ワンダンス』は、ストリートダンスというユニークな題材に挑んだ作品です。制作を手がけたサイクロングラフィックスは、ダンサーの激しい動きと、ストリートウェア特有の「ルーズ」で多彩な衣装バリエーションのリアリティを両立させるため、Marvelous Designerの採用は「必然」だったと語ります。</em></span></h2><p>高速で正確な物理シミュレーションにより、従来の手法では不可能だった「圧倒的なデザイン数」と「正確な衣服の挙動」を実現し、画期的な工数削減を達成。<br>また、Marvelous Designerに由来するリアリスティックなシワの情報を、Blenderを活用して「アニメらしいルック」へと落とし込む独自の技術調整や、「動いている状態こそが、その衣装の完成形である」としてダンス中のシルエットを追求した制作アプローチなど、技術的な挑戦の裏側を深掘りします。</p><p>デジタルファッションの造詣が深い株式会社典樹との連携や、Marvelous Designerがアニメ制作全体の可能性をどのように広げるかについても伺いました。</p><p></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/5bmRV7rhh-g?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/NJGTXWu5JBg?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/11H4HaS5qfI?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p></p><hr><p><strong>1.</strong><span style="font-family: &quot;Times New Roman&quot;"><strong>&nbsp;&nbsp; </strong></span><strong>ストリートダンスとMarvelous Designerについて</strong></p><p>『ワンダンス』はストリートダンスに特化した非常にユニークなアニメ作品であるといえます。<br>今回のプロジェクトでMarvelous Designer (MD)を採用した理由は何ですか？</p><p>&nbsp;</p><p>Marvelous designerの高速で正確な物理シミュレーションは、これまで3DCGで苦手としてきた、</p><p>重力感のある動きやリアルな皺のディテールを与えてくれました。実際に使用してみた感想として、他の3DCGソフトによる物理シミュレーションに比べても、大幅に後処理の修正作業を軽減してくれています。</p><p>『ワンダンス』の制作において最大の挑戦は、膨大なダンスアニメーションと並行して、ストリートファッションのリアリティを追求した多彩な衣装バリエーションを揃えることでした。従来の3DCG制作では、衣装ごとにモデリングを行い、さらにウェイト調整やリギングといった膨大な工程を繰り返す必要があります。しかし本作では、これらをすべてMDによる3D縫製で制作しています。</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/7f4a99bf292242d69a91a8c1e757902dimage.png" alt="7f4a99bf292242d69a91a8c1e757902d" class="custom-image medium-size" data-id="7f4a99bf292242d69a91a8c1e757902d" data-width="975" data-height="1415"></p><p>MDによる物理シミュレーションを導入したことで、複雑な手作業を繰り返すことなく、ダンサーの激しい動きに連動した正確な衣服の挙動を実現しました。これにより、これまでの手法では不可能だった圧倒的なデザイン数と、リアリティのあるシミュレーションの両立が実現したのだと感じています。</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/cGz1WbI6lhg" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p></p><p>また、3D縫製は「着せてからのサイズ調整」が容易なため、ヒップホップ特有のダボっとしたシルエットの微調整もスムーズに行えました。ダンスのシミュレーションを通じて、動いている状態のシルエットをリアルタイムに確認できる点は、制作における大きなボーナス（利点）になりました。</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/PIE93aniDKk" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p>今振り返れば、『ワンダンス』という作品において、MDの採用はむしろ「必然」であったと確信しています。</p><hr><p><strong>2. リアリスティックさとアニメ的表現のバランス</strong></p><p>Marvelous Designerはリアルな物理演算による衣服表現で知られていますが、アニメーションには達成したい表現に対して「調整された」ルックが求められると考えております。この2つのバランスをどのように取りましたか？<br>（シミュレーション結果がリアルすぎて汚く見えないよう、シワを簡略化したり、アニメらしい見た目に合わせてパターン（型紙）の特殊な調整を行ったりしましたか？）</p><p></p><p>『ワンダンス』におけるモーションキャプチャーのコンセプトは、「ダンサーが描くアニメーション」です。ダンスの躍動感だけでなく、服のシワひとつに至るまで、すべてはダンサーの動きから生み出された表現でなければならないと考えていました。</p><p>MDは、非常にしなやかでリアルな服のしなりを再現してくれますが、そのままではアニメ的なルックに対して情報量が多すぎます。そのため、あえて「シワの数を整理する」という調整が必要でした。</p><p>このルック調整の鍵となったのが、本作のメインツールであるBlenderです。MDで生成されたリアルなシワの情報をそのまま使うのではなく、Blenderのジオメトリノードを活用しています。元の法線（ノーマル）にブラーをかけた情報をアトリビュートとして保持、それをシェーダーエディタ側で呼び出して制御しています。</p><p>MD由来のリアルな挙動を活かしつつ、作画と馴染みの良い「アニメらしいルック」へと落とし込むことができました。</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/3a011ec97bd4478d92acc04a13be7e9eimage.png" alt="3a011ec97bd4478d92acc04a13be7e9e" class="custom-image original-size" data-id="3a011ec97bd4478d92acc04a13be7e9e" data-width="975" data-height="690"></p><p>また、『ワンダンス』におけるMDの活用で特徴的なのは、「ダンス中の動き」をすべての基準として調整している点です。通常の衣装制作では、直立した状態（TポーズやAポーズ）での見栄えを優先しがちですが、本作ではあえてそれをしません。服のたるみや丈の長さ、ボリューム感に至るまで、あくまで「踊っている最中にどう見えるか」という一点に特化して調整を重ねています。</p><p></p><p>ダンスの激しいステップや大きなアクションの中で、最もカッコよく、かつ美しいシルエットが描かれること。<br>「動いている状態こそが、その衣装の完成形である」という考え方は、ダンスをテーマにした本作において、むしろ必然的なアプローチだったと言えるかもしれません。シミュレーションの結果をただ受け入れるのではなく、ダンスの躍動感を最大化するために、常に動きを確認しながらシルエットを追い込んでいきました。</p><hr><p><br><strong>3. 激しい動き（ダンス）の制御</strong></p><p>キャラクターたちは高速の回転やジャンプなど激しいダンスを披露し、しかもパーカーや重ね着といった難易度の高い衣装を着用しています。こうした激しい動きをシミュレーションする際、最大の課題は何でしたか？</p><p></p><p>幸いこの配慮が必要な衣装は多くはありませんでしたが、『キャラクターデザインから大きくはずさないこと』が課題でした。具体的には、パーカーのフードはダンスの最中に頭に被ることはあっても被り続けてはいけない、シャツの裾は跳ね上がる瞬間はあっても上がったままではいけないなど、激しい動きの後の衣装の大きなくずれ（それが物理的に正しいとしても）を防ぐためにピンやタックを多用しました。<br><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/b8b718dbc5da481890c872790a5692e2image.png" alt="b8b718dbc5da481890c872790a5692e2" class="custom-image original-size" data-id="b8b718dbc5da481890c872790a5692e2" data-width="975" data-height="690"></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/BkFMZfp8RLk" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p></p><p>【追加質問】</p><p>ストリートダンスにおいて、服の揺れ方はダンサーの個性の延長とも言えます。キャラクターごとのダンススタイルの違いを反映させるために、布の物性設定（重さ、摩擦、厚みなど）を個別に調整されましたか？<br>（例：アグレッシブなダンサーには重めの布地を、流れるような動きのダンサーには軽めの布地を設定する、など）</p><p></p><p>キャラクターデザイン（ジャージ・トレーナー・デニムなど）に合わせて生地を選ぶことを重視して、動きの調整は主にパターンで行いました。クロスシミュレーションの多種で複雑なパラメーターは調整に時間がかかり過ぎることが多いので、プリセットにはたいへん助けられました。</p><hr><p><strong>4. 株式会社典樹との連携</strong></p><p>今回は、デジタルファッションの造詣が深い株式会社典樹と協力して衣装パターンを制作されたと伺いました。このパートナーシップは、Marvelous Designerでの制作プロセスをどのように強化しましたか？<br>また、従来のCGアセットのやり取りと比較して、スタジオ間で「MDのプロジェクトファイル」を共有することによる独自の気づきや、ワークフロー上の利点はありましたか？</p><p></p><p>実はMarvelous Designerを組み込んだフローの一番の難関は「縫製（パターン）」という考え方でした。これまでモデリングから衣服を組み上げていたので、これまでまさか型紙の知識が必要になるとは思っていませんでした。</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/e1256873b70346278b7f1417e7e4e9bbimage.png" alt="e1256873b70346278b7f1417e7e4e9bb" class="custom-image original-size" data-id="e1256873b70346278b7f1417e7e4e9bb" data-width="975" data-height="502"><br><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/6ca3fd5756ba488680c971ead026cd5dimage.png" alt="6ca3fd5756ba488680c971ead026cd5d" class="custom-image original-size" data-id="6ca3fd5756ba488680c971ead026cd5d" data-width="975" data-height="502"></p><p>ことMDの衣装パターンにおいては、典樹さん抜きには語れません。なにせ、我々は服の作り方を学ぶことからスタートするレベルでしたから。アニメの衣装設定をもとに典樹さんに膨大な衣装パターンを作成していただきました。</p><hr><p></p><p><strong>5.アニメーション表現の拡大と展望</strong></p><p>今回のワークフローでの成功を経て、Marvelous Designerのようなツールは今後のアニメ制作をどのように変えていくと思われますか？（アクション重視の作品や、ファッションに焦点を当てたアニメを作りたいクリエイターにとって、新たな可能性が開かれると思いますか？）</p><p></p><p>今回のワークフローを経て、MDのようなツールは、ファッションに特化した作品のみならず、アニメ制作全体の可能性を大きく広げると確信しました。</p><p>特に、リアルな群衆シーンや合戦、激しいバトル描写などにおいては、表現のクオリティを高めつつ、制作負荷を劇的に軽減する極めて有効な手段となります。「ツールで効率化できる部分」を最大化できれば、その分、演出や作画といった「真にカロリーを割くべき工程」にリソースを集中させることができるからです。</p><p>また、MDを使用して驚いたのは、高度な物理シミュレーションを行っているにもかかわらず、オペレーションが非常に軽やかでレスポンスが良い点でした。この直感的な操作感こそが、試行錯誤を繰り返すクリエイターの想像力を妨げず、結果として表現の質を押し上げてくれるのだと感じています。</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/TZc7DKeVeHk" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/qdd867UPIn8" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p></p><p><strong>【追加質問】</strong></p><p>今回の経験から見て、従来の手法と比較した場合の「アニメーション制作におけるMarvelous Designerを利用する上での最大の利点」はどこにあるとお考えですか？</p><p></p><p>『ワンダンス』という作品において、Marvelous Designer（MD）がなければ、あの膨大なダンスシーンと衣装のバリエーションを両立させることは不可能でした。それほどまでに、制作現場に与えたインパクトは絶大です。</p><p>従来の手法との決定的な違い、そして最大の利点は、「アクションやファッションのディテールを妥協することなく、より純粋に『描きたいビジョン』へ挑戦できること」にあると考えています。</p><p>これまでは技術的な制約や工数の問題で諦めざるを得なかった表現も、MDがあれば形にできる。クリエイターが「本当に見せたいシーン」に妥協せず突き進める環境を与えてくれることこそが、このツールを採用する真の価値ではないでしょうか。</p><hr><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.cyclone-graphics.com/">「サイクロングラフィックス」webサイト</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://wandance.asmik-ace.co.jp/">「ワンダンス」公式サイト</a></p><p>ディズニープラスにて全話見放題、独占配信中</p><p></p>

型紙ベースモデリングとクロスシミュレーションによるリッチなダンス表現：アニメ『ワンダンス』におけるサイクロングラフィックスのMarvelous Designer実践

Collection A

F Turtleneck Trousers Set

Bree ★ Taurus

M Warrior Armor Costume

F Y2K Layered Bubble Set

Veronica ★ Cancer

inZoi Gyaru

F Street Bomber Trousers Set

Hope ★ Aquarium

M Bomber Denim Set

F OffShoulder Denim Set

Leonora ★ Leo

F Camo Bomber Denim Set

M_Classic_Rider_Set_88217E4D

Knit Halter Wide Jeans Set

French Work Set

T-shirt

<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/6LDRQ4OR73g" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>How do you paint history into a futuristic language? In his solo project Paradise Lost, concept designer Eyelashes did just that. Powered by Marvelous Designer for seamless costume creation, his retro-sci-fi universe is both haunting and beautiful.</em></span></h2><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Let's dive in.</em></span></h2><hr><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/76f6ae0e3a92486880008e8cfe4d8574%E8%B4%B5%E6%97%8F%E6%BC%94%E5%87%BA%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1%E5%B1%95%E7%A4%BA.png" alt="76f6ae0e3a92486880008e8cfe4d8574" class="custom-image original-size" data-id="76f6ae0e3a92486880008e8cfe4d8574" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/c7d0c3359a60488ca5452025ebd38e4emd%E5%88%B6%E4%BD%9C%E7%9A%84%E5%9C%BA%E6%99%AF%E5%B8%83%E6%96%99%E7%AA%97%E5%B8%98.png" alt="c7d0c3359a60488ca5452025ebd38e4e" class="custom-image original-size" data-id="c7d0c3359a60488ca5452025ebd38e4e" data-width="3339" data-height="1440"></p><h1>Welcome to the Marvelous Designer User Spotlight! Could you briefly introduce yourself and share the main focus of your current creative work?</h1><p>Hello everyone! I'm a freelance concept designer from China, and you can call me Eyelashes. My daily work mainly consists of freelance concept design outsourcing, and in my spare time, I create my own personal IPs. Currently, my personal work relies heavily on a 3D workflow, as I believe it better showcases my designs and ideas. I am mainly focusing on sci-fi world-building, and I hope to develop a highly distinct and complete personal style in the future.</p><h1>The world-building in Paradise Lost is incredibly fleshed out: retro-futurism, old nobility, a forbidden city beneath a manor, desire, and decay. Where did this concept initially begin?</h1><p>The ideation for this concept was quite interesting. The earliest inspiration came from watching films like <em>Eyes Wide Shut</em>, <em>The Holy Mountain</em>, and <em>2001: A Space Odyssey,</em> which sparked my interest in retro sci-fi. The hidden desires behind the masks in <em>Eyes Wide Shut</em>, the frantic yet sacred ritualism in <em>The Holy Mountain</em>, and the silent sci-fi thriller vibes of <em>2001: A Space Odyssey</em>—I felt certain tones from these films perfectly aligned with the theme I wanted to explore.</p><p>So, I combined them with my own ideas to express this universe: In an alternate retro-futuristic world, the old nobility indulges in their final glory. Sin and desire are poured beneath the manor, constructing a forbidden city built solely for their own pleasure, codenamed "Paradise Lost." The world is suspended in the rift between the past and the future; the old nobility has long decayed, addicted to insatiable greed and hedonism.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ae2efdb74116463aa7a2ee8d5fdc992ahongbin_scene3_optimized.png" alt="ae2efdb74116463aa7a2ee8d5fdc992a" class="custom-image original-size" data-id="ae2efdb74116463aa7a2ee8d5fdc992a" data-width="3339" data-height="2002"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/605b58b9ba634f639a497d0031913bc8%E7%BB%98%E7%94%BB%E8%8D%89%E5%9B%BE%20.png" alt="605b58b9ba634f639a497d0031913bc8" class="custom-image original-size" data-id="605b58b9ba634f639a497d0031913bc8" data-width="3218" data-height="1685"></p><h1>Your work captures both the opulence of the old nobility and the stark, cold aesthetic of futurism. How did you establish this visual language?</h1><p>I browsed through a massive amount of color archives of the French royal family—not just looking for patterns, but curious about how power narrates itself through color. The gold of Versailles is a monopoly on light, and royal blue is a metaphor woven into the fabric. My goal was to translate this historical grammar into a futuristic language.</p><p>In addition to the blue feudal attire of the old nobility, I wanted to incorporate retro technology from the last century to express the future. Also, to facilitate the future expansion of this universe, I deliberately condensed the visual language into a replicable design formula: Old Nobility Royal Symbols × Retro Technology × Constructivism.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/d8555b953bec4ee0bcd30aa5ea5d8219%E5%A5%B3%E4%BB%86%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="d8555b953bec4ee0bcd30aa5ea5d8219" class="custom-image original-size" data-id="d8555b953bec4ee0bcd30aa5ea5d8219" data-width="2000" data-height="1862"></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/581dbef7357e4b84bc21486751665773%E5%85%AC%E7%88%B5%E5%92%8C%E8%B4%B5%E6%97%8F%E4%B9%8B%E5%A5%B3%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="581dbef7357e4b84bc21486751665773" class="custom-image original-size" data-id="581dbef7357e4b84bc21486751665773" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d62fdd9ed644d9bb2b2ccdaa1749fe9%E9%93%81%E5%BA%8F%E4%B9%8B%E7%8E%8B%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="5d62fdd9ed644d9bb2b2ccdaa1749fe9" class="custom-image original-size" data-id="5d62fdd9ed644d9bb2b2ccdaa1749fe9" data-width="2560" data-height="3265"></p><h1>The costumes in this series convey a strong sense of identity, such as the old nobility, the duchess, and aristocratic descendants. What did you want to convey the most when designing their silhouettes, materials, and colors?</h1><p>When designing the silhouettes, my initial thought was to express the character's costume design using minimalist outlines. Aside from the original intention of making the characters more recognizable, this also served the theme of the world: making the design of the old nobility not just "old," but seamlessly blending it with the "newness" of modern high fashion and runway art. This conveys the idea of a world stuck between the past and the future, satirizing the false prosperity of the capitalist economy within this universe.</p><p>For the materials of the old nobility, I chose the aristocratic texture of silk combined with delicate futuristic fabrics, accented with gold threads. Blue represents the exclusive color of royalty, yellow symbolizes sun worship, and silver highlights merge with aristocratic technology. In this futuristic setting, the old nobility no longer needs intricate crests to declare their identity; they only need to "reduce" themselves to colors and shapes. When the opulence of an entire era is compressed into a pure, flat surface, that simplicity itself becomes the heaviest oppression.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/85e050ea10f6460588b87b9ad25a937d%E8%A5%BF%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="85e050ea10f6460588b87b9ad25a937d" class="custom-image original-size" data-id="85e050ea10f6460588b87b9ad25a937d" data-width="3339" data-height="1440"></p><p></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ddb62c588f5a4b3ea5ae42ddb446f464%E8%B4%B5%E6%97%8F%E7%A6%81%E5%8D%AB%E5%86%9B%E4%BD%BF%E7%94%A8md%E7%BB%93%E5%90%88zb%E9%9B%95%E5%88%BB%E7%9A%84%E6%96%B9%E5%BC%8F%E8%AE%BE%E8%AE%A1.png" alt="ddb62c588f5a4b3ea5ae42ddb446f464" class="custom-image original-size" data-id="ddb62c588f5a4b3ea5ae42ddb446f464" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/82d735f3565d43099792f9da4c82a845%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="82d735f3565d43099792f9da4c82a845" class="custom-image original-size" data-id="82d735f3565d43099792f9da4c82a845" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d2391f0607448fb93426b1b5f935bc4%E8%A7%92%E8%89%B2%E5%B8%83%E6%96%99%E6%9D%90%E8%B4%A8.png" alt="5d2391f0607448fb93426b1b5f935bc4" class="custom-image original-size" data-id="5d2391f0607448fb93426b1b5f935bc4" data-width="3339" data-height="1440"></p><h1>You used Marvelous Designer for this project. What parts of the production was it mainly involved in? How did it help your design regarding garments, drapes, or fabric structures?</h1><p>It was primarily used for the large-scale fabric simulations in my scenes and the characters' costume designs. Marvelous Designer allowed me to significantly increase my efficiency in the design phase.</p><p>Because the software is intuitive and easy to use, it saved me a lot of production time. I didn't have to spend a massive amount of time and effort figuring out the software itself, which gave me the freedom to focus entirely on my designs.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/b74f6b59f18c45f68172f31e12f9b4d0md%E6%88%AA%E5%9B%BE%E5%A5%B3%E4%BB%86.png" alt="b74f6b59f18c45f68172f31e12f9b4d0" class="custom-image original-size" data-id="b74f6b59f18c45f68172f31e12f9b4d0" data-width="3699" data-height="2012"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/3a315b2612ba420aab85be4983ff9307md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E.png" alt="3a315b2612ba420aab85be4983ff9307" class="custom-image original-size" data-id="3a315b2612ba420aab85be4983ff9307" data-width="3733" data-height="2038"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/2aea1d376eb843619515bf98658cd216md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E5%A5%B3%E5%84%BF.png" alt="2aea1d376eb843619515bf98658cd216" class="custom-image original-size" data-id="2aea1d376eb843619515bf98658cd216" data-width="3583" data-height="2016"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/e3afe5cecbbe448bac1993c4f6fa1df4md%E6%88%AA%E5%9B%BE%20%E6%97%A7%E5%85%AC%E7%88%B5.png" alt="e3afe5cecbbe448bac1993c4f6fa1df4" class="custom-image original-size" data-id="e3afe5cecbbe448bac1993c4f6fa1df4" data-width="3555" data-height="1944"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/58a33b61871444cdae22c0aef81a20e5md%E6%88%AA%E5%9B%BE%20%E5%85%94%E5%AD%90%E8%B4%A2%E9%98%80%E8%A5%BF%E8%A3%85.png" alt="58a33b61871444cdae22c0aef81a20e5" class="custom-image original-size" data-id="58a33b61871444cdae22c0aef81a20e5" data-width="3677" data-height="2028"></p><h1>You utilized Blender, ZBrush, Plasticity, and Marvelous Designer simultaneously. Could you share your overall production workflow for this series, from concept to final render?</h1><p>For my current workflow, after gathering references and materials, I sketch out some design drafts in Photoshop. Then, to implement and validate the design, I use Blender as my main platform for modeling and rendering. I model simple objects and character assets directly in Blender, while ZBrush handles complex creatures and character sculpting. Plasticity is mainly used for the hard-surface designs in my work, and Marvelous Designer takes care of the character costumes and fabrics.</p><p>Sometimes, I import garments made in MD into ZBrush for further sculpting. Once the external assets are ready, I usually import them back into Blender for integration, adjustments, material application, and final rendering. If I have enough time, I usually render my personal artworks straight out of 3D without much post-processing.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/d7_jPBtwwN8" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Looking back at the Paradise Lost project, what was the most challenging part?</h1><p>For me, this project had two main challenges at the time:</p><ol><li><p>Balancing work and rest. It’s very difficult to maintain a high intensity of creation during your downtime.</p></li><li><p>Combining elements like minimalism, geometric composition, and retro-futuristic technology to express my desired theme was quite tricky. If not done well, it could easily turn into a homogenized piece. Therefore, I had to spend a lot of time making choices and trade-offs.</p></li></ol><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/9d04c38bdcbd43299967ffed0d296b5chereyelashes-%20%281%29.jpg" alt="9d04c38bdcbd43299967ffed0d296b5c" class="custom-image original-size" data-id="9d04c38bdcbd43299967ffed0d296b5c" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/4f0990dafde64f7eb754210353c24753hereyelashes-.webp" alt="4f0990dafde64f7eb754210353c24753" class="custom-image original-size" data-id="4f0990dafde64f7eb754210353c24753" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/7d80bc79557447e9bac49460fdacb2e4hereyelashes-.jpg" alt="7d80bc79557447e9bac49460fdacb2e4" class="custom-image original-size" data-id="7d80bc79557447e9bac49460fdacb2e4" data-width="1920" data-height="1066"></p><h1>What advice do you have for artists looking to integrate Marvelous Designer into their concept design or character costume design pipelines?</h1><p>As for advice on integrating Marvelous Designer into concept design: I think MD is incredibly helpful in the design pipeline! However, you must carefully plan the proportion of time spent on design versus technical execution. You shouldn't treat yourself as a full-fledged 3D modeler and spend too much time studying professional pattern making. You must spend the majority of your time on the design itself—as long as it looks visually plausible and convincing to the audience, that’s enough.</p><p>For character-focused designers, you can push your understanding of costume design a bit further; for example, if a character isn't suited for a loose-fitting silhouette, the garment design needs to be more tailored to them. If the character is just serving as a simple asset for an environment, the garment design should be kept minimal and the polygon count optimized, allowing MD to boost the overall efficiency of completing the artwork.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/dc3ce6a3750f4b5d9db78bd051b20226hereyelashes-916612f54c307f4d8c86cf80864ce377-ezgif.com-webp-to-png-converter.png" alt="dc3ce6a3750f4b5d9db78bd051b20226" class="custom-image original-size" data-id="dc3ce6a3750f4b5d9db78bd051b20226" data-width="1485" data-height="837"></p><hr><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Paradise Lost is not a project that relies on visual opulence alone. Its coldness, order, oppression, and desire are all compressed into color, shape, material, and the silhouettes of garments.</em></span></h2><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Marvelous Designer, in this context, is more than just a tool for “making clothes.” For Eyelashes, it becomes part of the concept design pipeline: helping ideas take shape faster, making fabrics feel more convincing, and allowing the artist to spend more time on the decisions and trade-offs that truly matter.</em></span></h2><hr><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgA32g">Arstation</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shihonbin/">Instagram</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5fb7a7bf000000000101e3f8?xsec_token=ABxGsiB2biAUHDLvPHmjFmGAeH-LBYextJpB1V4x4sgAI=&amp;xsec_source=pc_search">RedNote</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/293838165">Bilibili</a></p><p></p>

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