<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/180950e687e44dcba683f9c7e0a864f9/images/f63625a21a1e4239bcdb56333382e97bSelected%20June%2026%202026%2032.png" class="custom-image hidden-thumbnail" data-id="f63625a21a1e4239bcdb56333382e97b" data-width="2536" data-height="1364">3D motion graphic designer <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/3d_znyng/">Junyoung Park</a> shares his deep passion for fashion, his design philosophy that bridges photorealistic and casual styles, and his creative workflow using Marvelous Designer.</h2><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/1060798876?#t=0" frameborder="0" allowfullscreen="" width="800" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Could you briefly introduce yourself and share what led you to start working in 3D design?</h1>Hello, my name is Junyoung Park, and I work as a 3D motion graphic designer.I studied Visual Design in university, and I actually entered the field of motion graphics and 3D design relatively late compared to others. Around the time I was transitioning from my third to fourth year in college, I saw a 3D graphic project created by a friend I had grown close to while preparing for art school entrance exams. I was so impressed by the work that I felt a strong desire to learn 3D graphics myself. That moment sparked my journey—I immediately began studying through YouTube and online classes, which led me to take my first steps into the world of 3D motion graphics.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/78193e3467794808aff696458fa9868c%E1%84%8C%E1%85%B5%E1%86%AB%E1%84%80%E1%85%A9%E1%86%BC%E1%84%91%E1%85%A9%E1%84%8C%E1%85%A1%E1%86%BC8.png" alt="78193e3467794808aff696458fa9868c" class="custom-image original-size" data-id="78193e3467794808aff696458fa9868c" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/fd83f82906204c2c8e7049d865f5e2a1%E1%84%87%E1%85%A9%E1%84%8C%E1%85%A5%E1%86%BC_4.jpg" alt="fd83f82906204c2c8e7049d865f5e2a1" class="custom-image original-size" data-id="fd83f82906204c2c8e7049d865f5e2a1" data-width="1441" data-height="755">Initially, I was deeply drawn to photorealistic work. I believed that truly impressive 3D projects had to look as real as possible, as if they existed in the physical world. For about one to two years, I worked professionally on product-focused 3D projects with a photorealistic approach. Then, by chance, I joined a company that specialized in interactions for a financial app, and that experience completely changed my perspective on 3D design.At that company, the work leaned more toward a casual mood rather than photorealism. Through those projects, I realized that 3D graphics don’t always need to mimic reality—casual-style designs have their own unique charm and appeal. Since then, I’ve embraced both photorealistic and casual styles, and I currently work as a designer who appreciates and incorporates the strengths of both approaches.<h1>How does your interest in fashion influence your 3D work? If you've ever incorporated your favorite brands or styles into your projects, please share an example.</h1>Fashion is one of the areas I’m most passionate about outside of my design work.To be honest, motion graphics often involve creating videos that are around a minute long, which can be quite exhausting as the project progresses—even if you start with excitement. That’s why, when working on personal projects rather than commercial ones, choosing a theme you genuinely enjoy helps reduce that fatigue and makes the process much more enjoyable. For me, selecting “fashion” as the theme for this project felt like a natural choice.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/1edf42139a7b4a00b7347c03c5e02e7a4_1.png" alt="1edf42139a7b4a00b7347c03c5e02e7a" class="custom-image original-size" data-id="1edf42139a7b4a00b7347c03c5e02e7a" data-width="1920" data-height="1080">When I was creating the promotional video for Musinsa, I went through a lot of trial and error and development in every stage—from planning the storyboard, to styling the looks, to designing the characters. But when it came to choosing the theme of fashion, I didn’t hesitate for a moment. It was the most instinctive and effortless part of the process.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/5e37af9472784d57886d42d9c7ed1372ezgif-62a073fe231aec.gif" alt="5e37af9472784d57886d42d9c7ed1372" class="custom-image original-size" data-id="5e37af9472784d57886d42d9c7ed1372" data-width="960" data-height="540">In fact, I often bring imagined clothing—pieces that don’t exist in real life but live in my mind—into my work, which gives me a strong sense of catharsis. When designing characters, I enjoy experimenting with bold and daring outfits that might be too much for everyday wear, but under the umbrella of “design” and “virtuality,” I feel free to explore and try many things. A good example is my current profile character, which I’ve styled mainly with clothing from one of my favorite brands, Tommy Hilfiger.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/7df00c41283e42919ce9793148c10187%E1%84%8C%E1%85%AE%E1%86%AB%E1%84%8B%E1%85%A7%E1%86%BC_016.png" alt="7df00c41283e42919ce9793148c10187" class="custom-image original-size" data-id="7df00c41283e42919ce9793148c10187" data-width="1920" data-height="1920"><h1>You work across both photorealistic and casual styles. What do you consider most important when balancing these two approaches?</h1>If I were to highlight one key point for each style:For photorealistic work, I believe real-world scale is the most crucial element—and also one of the details that beginners often overlook. Since photorealistic design aims to replicate what we see in the real world, even slight discrepancies in texture tiling, material pattern sizes, or the relative scale between objects can create a strong sense of visual inconsistency.On the other hand, for casual-style work, I think aesthetic appeal is the most important factor. Unlike photorealistic design, casual graphics aren’t based on real-world colors or patterns. Instead, they aim to create visually pleasing and beautiful objects in a more stylized way. If the audience doesn’t immediately perceive aesthetic value when encountering a casual-style piece, they’re unlikely to feel curious or engaged with the work at all.Although photorealistic and casual styles may seem like completely different fields with opposite characteristics, I believe the process of achieving high-quality results in both is fundamentally similar. The most important thing is to begin with thorough reference research and solid planning. Whether you're working in a realistic or casual mood, a well-grounded creative process leads to consistent execution and excellent outcomes.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/d64ddf40ec07408ba0f284dcc5a16a4fezgif-666b32868f9ab0.gif" alt="d64ddf40ec07408ba0f284dcc5a16a4f" class="custom-image original-size" data-id="d64ddf40ec07408ba0f284dcc5a16a4f" data-width="672" data-height="378"><h1>What was the most impressive feature or experience when you first encountered Marvelous Designer?</h1>The most impressive aspect for me was its relatively lightweight simulation capabilities that still produce high-quality, realistic clothing movement. As a 3D designer who works with characters, there are generally two main approaches depending on the mood of the project: creating clothing with mesh modeling, or using Marvelous Designer to achieve more lifelike simulated garment movement.Before I learned how to use Marvelous Designer, I had no choice but to create all clothing through mesh modeling, which limited my workflow and creative options. But once I became proficient with Marvelous Designer, the spectrum of designs I could express expanded significantly. Of course, even now, there are times when I still choose to model clothing with mesh, but I believe there's a clear difference between having no choice and making a deliberate choice between two methods you fully understand.Being able to choose between mesh and simulation-based workflows depending on the project’s needs has fundamentally changed how I approach character design and garment creation.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/9e8f635525114ff2a3f2c91c60886b192025-06-23%2018%2032%2018.png" alt="9e8f635525114ff2a3f2c91c60886b19" class="custom-image original-size" data-id="9e8f635525114ff2a3f2c91c60886b19" data-width="1916" data-height="1035"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/3603906e72ef4261b2e46f01c3b49a242025-06-23%2018%2051%2044.png" alt="3603906e72ef4261b2e46f01c3b49a24" class="custom-image original-size" data-id="3603906e72ef4261b2e46f01c3b49a24" data-width="723" data-height="415"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/94978f78219642a5800f15bf9c2009c7ezgif-6309d236c0de32.gif" alt="94978f78219642a5800f15bf9c2009c7" class="custom-image original-size" data-id="94978f78219642a5800f15bf9c2009c7" data-width="857" data-height="463"><h1>You mentioned that you voluntarily studied tutorials after work. What learning resources or methods were most helpful to you?</h1>I’ve heard that senior designers from earlier generations had a hard time studying due to the scarcity of resources. In contrast, I believe our generation is incredibly fortunate when it comes to learning. There are countless high-quality tutorials available for free on YouTube, and we also have access to paid classes from highly skilled senior designers. On top of that, with the emergence of ChatGPT, even minor errors that used to require extensive searching can now be resolved quickly and easily.For me, the most helpful learning method has been not being afraid to upload my work and receive feedback. I understand that it’s difficult for anyone to completely let go of the fear—“What if someone criticizes my work or leaves a negative comment?” Even as I say this, I still feel that fear myself. But I believe that even the most accomplished creators started out the same way, and there’s no faster or more effective way to improve than by listening to others’ opinions and refining your work accordingly.<h1>What has been the biggest synergy effect you've experienced from working in both motion graphics and 3D design?</h1>Motion graphics include both 2D and 3D elements, but by working alongside 3D graphics, I feel that I’ve significantly expanded my expressive range. While 2D has its own charm and is a wonderful field, I found that 3D allowed me to satisfy my creative cravings in both photorealistic and casual styles.In the beginning, I was fixated on photorealism in 3D work, stubbornly believing that “it only looks cool if it looks real!”—a narrow mindset that I held onto with a sense of pride. However, through various projects and professional experiences, I came to realize that casual moods, 2D work, and all forms of design have their own demand and purpose. I also learned that my perspective isn’t the only correct one.Though I’m still a developing designer with a long way to go, I’ve been fortunate to experience many different areas in my relatively short career. One of those areas was Marvelous Designer, which reignited my passion for 3D graphics by allowing me to integrate my personal interests—like fashion and clothing—into high-quality professional projects.The ability to visualize and create clothing that exists only in my imagination, or to see a 3D character I designed wearing the same clothes I enjoy in real life, brings a kind of emotional impact that deepens my attachment to both 3D graphics and motion graphics. That visual connection between imagination and reality is what continues to inspire me in this field.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/798c6275ffab4a1d9a471d41cffb65349.png" alt="798c6275ffab4a1d9a471d41cffb6534" class="custom-image original-size" data-id="798c6275ffab4a1d9a471d41cffb6534" data-width="1920" data-height="1080"><h1>Lastly, if you're planning a future project that combines fashion and 3D, what kind of theme would you like to explore?</h1>Since I’ve already created a casual, kitschy-style video, I’d love to explore a project that focuses on highly detailed, photorealistic clothing in the future. I’ve always been inspired by senior designers who collaborate with K-pop artists to create CG elements for music videos and teaser content, featuring a wide range of stage outfits. It’s something I’ve long admired from afar, and now I’m determined to work toward that goal by continuing to study and improve my skills in every way I can.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/e864efef95a541a3afd9b95032ae1d4eScreenshot%20July%2010%202025%2011%3A11%3A20.png" class="custom-image hidden-thumbnail" data-id="e864efef95a541a3afd9b95032ae1d4e" data-width="910" data-height="915"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/fe8e1e5148c849b2820af364755d5723Screenshot%20July%2010%202025%2011-11-20.jpg" class="custom-image hidden-thumbnail" data-id="fe8e1e5148c849b2820af364755d5723" data-width="910" data-height="915"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/cd6fd157b30f42ac97ff504e11c230c5ezgif-5d216c94324f12.gif" alt="cd6fd157b30f42ac97ff504e11c230c5" class="custom-image original-size" data-id="cd6fd157b30f42ac97ff504e11c230c5" data-width="800" data-height="450">

MUSINSA Promotion: Fashion Meets Motion Graphics

Footwear Collection 2026.0

alexey.okushko

Inside the Costa Rican Brand Designing Entire Collections in CLO

Chicken and Kiwi, these flightless birds, believed strongly&nbsp;that&nbsp;the steampunk technology can make them fly high and free. 飛べない鳥の鶏とキーウィー。彼らはスチームパンクのテクノロジーが彼らを高く自由に飛び回らせてくれると強く信じた。 Creator’s Contest 2025 vol.3 : FANTASY ARCHIVES - 幻想様式帖 -<img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/4e89f9e64c094f55aff51ebf1b8a5711001.jpg" alt="4e89f9e64c094f55aff51ebf1b8a5711" class="custom-image original-size" data-id="4e89f9e64c094f55aff51ebf1b8a5711" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/376cf42fe0944b009fe2db263d0933a2006.jpg" alt="376cf42fe0944b009fe2db263d0933a2" class="custom-image original-size" data-id="376cf42fe0944b009fe2db263d0933a2" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/55a4bef3f4064519ba1b91d1f0011103007.jpg" alt="55a4bef3f4064519ba1b91d1f0011103" class="custom-image original-size" data-id="55a4bef3f4064519ba1b91d1f0011103" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/f242b81b469f47358cad20e4ef9bb486002.jpg" alt="f242b81b469f47358cad20e4ef9bb486" class="custom-image original-size" data-id="f242b81b469f47358cad20e4ef9bb486" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/c40cd4d76b574d879f9facadeb5e0656003.jpg" alt="c40cd4d76b574d879f9facadeb5e0656" class="custom-image original-size" data-id="c40cd4d76b574d879f9facadeb5e0656" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/055f1d90ebed4fd8b1d25060cf73afdd004.jpg" alt="055f1d90ebed4fd8b1d25060cf73afdd" class="custom-image original-size" data-id="055f1d90ebed4fd8b1d25060cf73afdd" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202510/d22f2d54e1794795b748f2e96d667f68/images/c6e152e27a964845b04d52f867ebc2e2005.jpg" alt="c6e152e27a964845b04d52f867ebc2e2" class="custom-image original-size" data-id="c6e152e27a964845b04d52f867ebc2e2" data-width="1616" data-height="1301">

Fly High!

<img src="https://storagefiles.clo-set.com/public/community/202602/bcfb846b4be0441882ae78b00363be26/images/1dc8d4cc6bf04e9eba8e8df143b8afe8Artboard%201.png" alt="1dc8d4cc6bf04e9eba8e8df143b8afe8" class="custom-image original-size" data-id="1dc8d4cc6bf04e9eba8e8df143b8afe8" data-width="1920" data-height="1080">This piece stands at the intersection of digital fashion and architectural imagination.Its geometric language draws from the structural poetry of Persian craftsmanship—where repetition, symmetry, and spatial rhythm shape a world of intentional beauty.Each star‑shaped module behaves like a micro‑architecture, echoing the logic of muqarnas and the layered ascent of traditional domes.The silhouette follows the natural flow of the body while preserving the disciplined precision of Iranian geometric systems, creating a dialogue between softness and structure.Crafted with high‑resolution simulation, clean topology, and refined material work, this design is built for next‑generation pipelines: digital fashion showcases, cinematic rendering, character development, and immersive 3D experiences.A garment that doesn’t just dress the body—it constructs a story.

Emerald Star Geometry Dress – 3D Apparel Design

KOFOTI_Male_Patterns

<h2 style="text-align: center">Get an inside look at how Them Studio brought a fresh metaverse vision to life—merging cutting-edge visuals with heartfelt storytelling and a stylized aesthetic that pushes the boundaries of commercial CG work using Marvelous Designer for stylized animation.</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/lAl4NfEiKY8?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 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/gallery/212722569/IconX-Shortfilm">THEM Studio</a></h1><h1 style="text-align: left">To start off, could you introduce yourself and your team at IconX Studio?</h1>Hey everyone! I’m <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/dima_gavriliv/">Dima Havryliv</a>, and I was the art director on this project as part of the team at Them Studio. We’re a group of bold, forward-thinking artists based in Kyiv. Each of us has strong experience as a solo CG artist, but when we join forces, we’re able to create truly exciting work — and this project is a great example of that. We’re really excited to share it with you. At Them Studio, we create a wide range of 3D visuals — from large-screen video content to product-focused animations. But recently, we’ve become especially interested in short films. Inspired by Spider Verse, we decided to explore a new style for ourselves, combining 2D and 3D elements. That inspiration turned into a creative journey that led to this project.<img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/c1a2240c9475463e89c98378ae58795dBehancePage.png" alt="c1a2240c9475463e89c98378ae58795d" class="custom-image medium-size" data-id="c1a2240c9475463e89c98378ae58795d" data-width="1920" data-height="3275"><h1 style="text-align: left">What inspired the concept behind this short film? Can you tell us how the idea first came about and developed?</h1>This was a commercial project — the client wanted to present a metaverse concept, but in a fresh and emotionally engaging way. The goal was to evoke a feeling before revealing the product itself. We were given a general direction, but had a lot of creative freedom in how to bring it to life.We started with a storyboard, where we defined the narrative and visual tone of the film. As I mentioned earlier, our team was deeply inspired by Spider-Verse, and we were excited to experiment with integrating a similar aesthetic — blending 2D and 3D elements in a stylized way.There were definitely challenges, especially during the R&amp;D stage, where we tested our ideas to see if they could actually work in motion. Once we locked in the visual style and got approval on the storyline with our main character, we jumped into production.<img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/a5ea7c42466c4ad2ae75e64697603443ClothConcept.png" alt="a5ea7c42466c4ad2ae75e64697603443" class="custom-image medium-size" data-id="a5ea7c42466c4ad2ae75e64697603443" data-width="2559" data-height="1130"><h1 style="text-align: left">What led you to choose Marvelous Designer for this project? In what ways did it support your artistic vision?</h1>Even though most of us come from a Cinema 4D background — and Maxon has introduced some strong cloth simulation updates — we still prefer using Marvelous Designer. It’s much more intuitive and consistently delivers better results when it comes to clothing.It played a key role in this project, especially since our character’s outfit was a crucial part of their identity and visual presence. From the beginning, we knew that if we were going to include a character, the clothing couldn’t be an afterthought — it had to be designed with care and purpose. Marvelous Designer helped us achieve exactly that.<img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/918644c3fe704fd3ad705117be6169b6outfit04.png" alt="918644c3fe704fd3ad705117be6169b6" class="custom-image medium-size" data-id="918644c3fe704fd3ad705117be6169b6" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/be714a244a5d42baa3209cd363d1ad1bpattern01.png" alt="be714a244a5d42baa3209cd363d1ad1b" class="custom-image medium-size" data-id="be714a244a5d42baa3209cd363d1ad1b" data-width="1345" data-height="891"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/edf613fd2bf84303838bca541bb6c59boutfit03.png" alt="edf613fd2bf84303838bca541bb6c59b" class="custom-image medium-size" data-id="edf613fd2bf84303838bca541bb6c59b" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/26b18493574d429fb6b2c2486c219779pattern04.png" alt="26b18493574d429fb6b2c2486c219779" class="custom-image medium-size" data-id="26b18493574d429fb6b2c2486c219779" data-width="1226" data-height="873"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/115d1fb4f8514e67938352955eeba667Stillshots02.png" alt="115d1fb4f8514e67938352955eeba667" class="custom-image medium-size" data-id="115d1fb4f8514e67938352955eeba667" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/934eded4323747e5b7c9ac5a73dda57fpattern02.png" alt="934eded4323747e5b7c9ac5a73dda57f" class="custom-image medium-size" data-id="934eded4323747e5b7c9ac5a73dda57f" data-width="1607" data-height="814"><h1 style="text-align: left">We’re particularly curious about the scene where Robert jumps out the window in slow motion, yet his clothes flow naturally. How did you simulate that moment using Marvelous Designer? Any tips you'd like to share?</h1><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/3da0a19fec3749e49243af5028c54ae7Stillshots03.png" alt="3da0a19fec3749e49243af5028c54ae7" class="custom-image medium-size" data-id="3da0a19fec3749e49243af5028c54ae7" data-width="1920" data-height="1080">Let me pass this one over to <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/community/post/403e71fa0f57448a998c342871f5221d">Egor Haiev</a>, a member of our team who was directly responsible for that simulation:"This simulation was arguably one of the most challenging. I’d say it took me around 40 attempts to figure out exactly which settings needed to be adjusted to achieve a realistic result.The key parameter, in my opinion, was Scene Time Warp. What I discovered is that the higher the value, the more the sequence gets stretched out, which allows Marvelous Designer to calculate additional in-between frames. For example, in the scene where the character jumps out of the window, I set this value to around 50 to help compensate for the high speed of the jump.A small tip for users: if you notice that part of the fabric clips through the character or behaves oddly, you can pause the simulation at that moment, freeze the clothing elements that are working correctly, and leave only the problematic part active. Then, re-run the simulation in the viewport to fix just that area. Once it’s resolved, unfreeze the rest and continue the sim.This approach lets you preserve the overall animation—including inertia—while focusing on smaller problem areas. And if glitches continue, the same process can be repeated."<img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/63a704ac44f74885a9d37e6d2580d2211.gif" alt="63a704ac44f74885a9d37e6d2580d221" class="custom-image medium-size" data-id="63a704ac44f74885a9d37e6d2580d221" data-width="800" data-height="450"><h1 style="text-align: left">Could you walk us through the main tools you used in your pipeline for this animation project?</h1>For this animation project, our main tool was Cinema 4D with the Redshift engine. All of the scenes were built in C4D, including texturing, lighting, and materials. Most of the work was done within this software.For certain scenes, such as the window jump scene, where we used a 2D background, we found that Blender handled 2D perspectives better, so we used it specifically for those parts.Marvelous Designer was essential for creating the character’s clothing, allowing us to achieve realistic and dynamic fabric simulation.For character design, we used Character Creator to build the main character.The character animation was done in Maya, where we specifically worked at 12 fps to give the project a more cartoonish, stylized feel.Photoshop was used for the additional stylization of textures and to add 2D motion blur effects and inserts during post-production.Finally, all of the visual effects, color grading, and anything that enhanced our 3D visuals were brought together in After Effects for post-production.<h1 style="text-align: left">What were some of the key challenges you faced while working with Marvelous Designer?</h1>Since this wasn’t our first time working with Marvelous Designer, creating the clothing itself wasn’t a major challenge. However, given that our video uses 12 fps for the character animation — a stylistic choice — we were a bit concerned about potential issues with the simulation.Surprisingly, everything went smoothly. We increased the time calculation, which helped, and the results looked great. After that, we brought the Alembic file into Cinema 4D, removed every second frame, and the animation held up perfectly.<h1 style="text-align: left">Do you have any advice for artists looking to use Marvelous Designer for stylized animation projects?</h1>Egor Haiev"I believe that the quality of the character animation plays a significant role. Fortunately, we had a very talented animator on our team, which contributed to the overall dynamic and lifelike feel of the project. However, the clothing itself should not be overlooked. While the overall style is certainly important, it's often the small details that add an extra layer of interest.In Robert’s case, I would highlight his concert outfit—particularly the jacket with the strap that sways nicely with the character’s movements. A similar feature appears in his main outfit, the one he wears during the window jump scene. There, it's the layered nature of the clothing that stands out. We found the overlapping of several garments in that context to be quite visually compelling"<img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/91a824053c9e46aaa1fced90ef2cac763.gif" alt="91a824053c9e46aaa1fced90ef2cac76" class="custom-image medium-size" data-id="91a824053c9e46aaa1fced90ef2cac76" data-width="800" data-height="450"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/d5a371ff5afc4b7aa8ecde36f93a53a52.gif" alt="d5a371ff5afc4b7aa8ecde36f93a53a5" class="custom-image medium-size" data-id="d5a371ff5afc4b7aa8ecde36f93a53a5" data-width="800" data-height="450"><h1 style="text-align: left">Finally, how would you sum up your overall experience using Marvelous Designer throughout this project?</h1>It was an exciting adventure, but without the clothes, it would’ve been pretty cold and tough! We’ve used Marvelous Designer before, and in this project, it truly became a key part of the process. Big thanks to the team for making sure our character stayed stylish while we animated them!<img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/af7d7b490851423780419c0031c72e76outfit01.png" alt="af7d7b490851423780419c0031c72e76" class="custom-image original-size" data-id="af7d7b490851423780419c0031c72e76" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/f7e2ccaa809e4d938c28c3883fc30ccdoutfit02.png" alt="f7e2ccaa809e4d938c28c3883fc30ccd" class="custom-image original-size" data-id="f7e2ccaa809e4d938c28c3883fc30ccd" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/d2d231e4cc85410590657e461b1dd868outfit04.png" class="custom-image hidden-thumbnail" data-id="d2d231e4cc85410590657e461b1dd868" data-width="996" data-height="996"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/9c99ca78bdea4faeb113248ced020d6doutfit04.png" class="custom-image hidden-thumbnail" data-id="9c99ca78bdea4faeb113248ced020d6d" data-width="996" data-height="996"><img src="https://storagefiles.clo-set.com/public/community/202505/9c36cccf061448ae9b8a9cc721380b11/images/be02cdabae334e678a48a5236e544dc8BehancePage.png" class="custom-image hidden-thumbnail" data-id="be02cdabae334e678a48a5236e544dc8" data-width="1910" data-height="1911">

MUSINSA Promotion: Fashion Meets Motion Graphics

Marvelous Designer Official

Marvelous Designer Official