<h2 style="text-align: center">Morten Jaeger reveals his process of creating artwork, from conceptualization to final texturing.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/b1fa16adb0714a4d8e59fb5a4a4de1726027340f19684c8cbc96afa6ff4aa227.jpg" class="custom-image original-size" data-id="b1fa16adb0714a4d8e59fb5a4a4de172" data-width="1665" data-height="1125"><h1 style="text-align: center">Interview with Morten Jaeger| MS. MARVELOUS | </h1><h1 style="text-align: center">Co-Founders of FlippedNormals</h1><hr><h1>1. Introduction</h1>My name is Morten and I’m one of the Co-Founders of FlippedNormals. Flippednormals is a digital marketplace that curates digital assets and tutorials.We strive for quality, and as a result, only provide our customers with the highest quality CG products on the market. Before starting our marketplace I worked in VFX where I had the opportunity to work in such films as Pacific Rim: Uprising, Guardians Of The Galaxy Vol. 2, Fantastic Beasts: The Crimes of Grindelwald and many more. There’s been a bit of a vacuum when it comes to Marvelous Designer training lately and having used it on multiple blockbusters throughout my career, I felt I could bring some valuable knowledge to the table. <h1>2. Inspiration</h1>As with any project, I always go on a reference hunt. One thing that stood out to me was the style of clothing. Seeing as I wanted to create a costume for a woman, I noticed a trend of baggy pants with a crop top most of the time.I wanted to spice it up a bit, so I decided to add a sports bra along with the tied sweater. I was very inspired by the K/DA - POP/STARS music video from Riot, as well as various hip hop dancers on Instagram. With that in mind, I wanted to create something appealing—not just in terms of clothing but also as a polished portfolio piece.What they did in terms of the color palette for the K/DA music video was a big inspiration. I went through many different iterations before settling on the final colors. Though the color of the costume was established fairly early on, these came from my reference "I.AM.GIA Pants".I did several attempts to get the look of these pants just right, and they ended up dictating the palette for the rest of the costume. <h1>3. Creating the garment&nbsp;</h1>I always start out very basic. No curves, no elaborate shapes.This is the same approach I have whether I’m painting, sculpting, or making fabrics. It’s a lot easier to tweak your design before you add lots of detail and become too attached to your design. So I can’t stress the importance of this enough.That, combined with the first step—collecting good references—will improve your designs and save you time in the long run.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/0d19624d4edc4ab5b2ba5e2d79a6bb1cca168f5f1b924a0986dc15b09462fde6.jpg" class="custom-image original-size" data-id="0d19624d4edc4ab5b2ba5e2d79a6bb1c" data-width="1919" data-height="1079">Throughout the process, I make great use of temporary pins. These allow me to suspend things in mid-air or on the model, with the benefit that I can easily clear them if I no longer need them.It’s very similar to creating garments in real life. You won’t always have perfect measurements from the beginning, so having pins you can quickly add and remove really speeds up my workflow.I try to stay basic until I have all areas of the garment nailed down, but I never focus too heavily on one area. This allows me to better evaluate the state of the costume, ensuring that no one part is too detailed compared to the rest. I also believe that a good base mesh can do wonders for your costumes. It’s like having a good model to pose with your brand.For this tutorial, I used a base mesh provided by Vail Peychev, who makes some amazing base meshes. The pose fit really well with what I was going for, and it helps set the stage for the mood of the piece as well.There’s something about having a semi-posed model to show off your garments—it just makes it come more alive.This obviously wouldn’t work if I was working on a production piece, as the pose isn’t very rigging-friendly. But in this instance, that didn’t really matter.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/f243f2abdc2f46ec96de92486b9f0b68aea7b6603b05424cb0843c37cee27e63.jpg" class="custom-image original-size" data-id="f243f2abdc2f46ec96de92486b9f0b68" data-width="1919" data-height="1077"><h1>4. The Secret to Details</h1>One of the best ways I know to add detail is by using internal lines. Internal lines with varying fold strengths can create the feel of seams and depressions in your fabric.This is the very last step of my garment creation process, as by this point, you shouldn’t really change anything design-wise.For thicker garments like the top sweater, I increased the fold strength significantly to give the impression of a heavier, thicker garment.On the other hand, for the pants, I did the opposite. These were intended to be made of lightweight nylon, a very thin and light fabric.In that case, it wouldn’t make sense to create too deep of a depression, as it would make the material appear thicker than it should be.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/d0111658df434c939cfbc5e7b284f801bf0a134180a442a5a1923d1a45532fc5.jpg" class="custom-image original-size" data-id="d0111658df434c939cfbc5e7b284f801" data-width="1919" data-height="1079"><img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/d4b342f901c2459b944a7448c9a80f4f7214c84d5e014c4c8f0b8e094474d1ac.jpg" class="custom-image original-size" data-id="d4b342f901c2459b944a7448c9a80f4f" data-width="1392" data-height="923"><h1>5. Tying the Knot</h1>By far, the hardest part was tying the sweater around her waist. It wasn’t something I had seen done before, so I had to get creative to solve it.Marvelous Designer is excellent at detecting surfaces and generally seems to understand what you want the fabric to do. However, things get a bit different when you compress and stretch the fabric a lot.I used a combination of a really low Particle Distance to achieve a more accurate simulation and tweaked various friction parameters to ensure the fabric clung to itself.The biggest challenge here was making Marvelous understand that I wanted the garment to twist, without allowing it to resolve into its default relaxed state.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/9566ce95a1124efc88d909d3f23340ff7a854e36066c4f2db03b1355abf1da39.jpg" class="custom-image original-size" data-id="9566ce95a1124efc88d909d3f23340ff" data-width="1919" data-height="1079">Using temporary pins, I pulled the sleeves of the sweater apart to tie it. Once I had a shape I was satisfied with, I adjusted the friction parameters to make it stay in place.Otherwise, you run into the issue where Marvelous starts creating intersections, and your garment ends up looking like the beginnings of a black hole.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/28acadc3d3734bd98c823db00d127899e800ea69d90c46629e564594c8ed9a12.jpg" class="custom-image original-size" data-id="28acadc3d3734bd98c823db00d127899" data-width="1919" data-height="1079"><h1>6. Painting with Substance</h1>Before this project, I had never really used Substance Painter that much. So it was a perfect opportunity for me to get properly into the software.Texturing was never really a big passion of mine, but after finishing this project and working with Painter, I’m a lot more excited about it.&nbsp;The textures were kept pretty simple, mostly using fill layers to keep it as procedural as possible.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/448787fa8ce34d4d83cbdea32dfc8eb583054cfa8c3b4705942c823033e4a61b.jpg" class="custom-image original-size" data-id="448787fa8ce34d4d83cbdea32dfc8eb5" data-width="1919" data-height="1079">The only time I really used regular paint layers, were for the emissive masks and the makeup on the face. The great thing about Painter is that I could upscale the resolution if I needed to. So I started fairly low-res with the procedural layers just to make my life easier.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/e1a563deb8e543acb981b6e6a3a252003ec58a7b3c354fdebd7dd20521325b96.jpg" class="custom-image original-size" data-id="e1a563deb8e543acb981b6e6a3a25200" data-width="1919" data-height="1079">7. Finishing Touches﻿For the final resolution, I set the particle distance to 3 for most objects. This was a bit heavy, but I needed the ultrafine details that Marvelous creates.To finish everything off, I imported my completed garment into ZBrush and applied FlippedNormals Fabrics to add an extra layer of realism. This is exactly what they were designed for, and by combining them with NoiseMaker inside ZBrush, you can achieve some pretty cool results.The default fabrics are quite clean, but that has the added benefit of making it easier to introduce imperfections and aging effects.<img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/5e2fefb7685643c690da3bc428c040b221776dac44d049109108b24841afb1fd.jpg" class="custom-image original-size" data-id="5e2fefb7685643c690da3bc428c040b2" data-width="1646" data-height="922"><img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/481e31cc199a4e329ee752bfbe094c601a7c54a59217415aaca275a7decc366a.jpg" class="custom-image original-size" data-id="481e31cc199a4e329ee752bfbe094c60" data-width="1534" data-height="922"><img src="https://storagefiles.clo-set.com/public/community/202501/315e3674b22042cdbc5299b90afc1f68/images/af203c2a2cdd477899da7c212fd5c5ccdeb43b4aedea41249fb09eb5f8443a90.jpg" class="custom-image original-size" data-id="af203c2a2cdd477899da7c212fd5c5cc" data-width="1844" data-height="1042">by Morten Jaeger – Co-Founders of FlippedNormals Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://flippednormals.com/">FlippedNormal&nbsp;</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/mjthehunter">Artstation</a>

MS. MARVELOUS

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

<h2 style="text-align: center">Meet Anny Han, a 3D fashion and graphic designer with a deep background in pattern making and garment construction. By bridging traditional techniques with digital tools, she created a realistic, emotionally resonant digital fashion, resulting to her award of 2nd Place in the <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/contest/mdcc2025vol2">Marvelous Designer Creator's Contest Vol.2 " TOKYO CONTINUUM - 東京進化系 -"!</a></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202512/6db6acc9f1144f13a8bd11a6a0645519/images/44e8b1862dea4ef4aeaac508b9fdf6ef4.webp" alt="44e8b1862dea4ef4aeaac508b9fdf6ef" class="custom-image original-size" data-id="44e8b1862dea4ef4aeaac508b9fdf6ef" data-width="1200" data-height="1600"><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/57c70236280a403997e3eef3deae4f99">花と爆 (Hana to Baku)</a><hr><h3>1. Artist Introduction: please tell us about yourself.</h3>Anny Han: Hello, my name is Anny Han, and I am a 3D fashion and graphic designer.I currently work in fashion product development, using CLO and Marvelous Designer to create realistic digital garments based on my background in pattern making and construction. I first started learning 3D to improve communication and speed within the development process, and it soon became an essential tool for expressing my own creative world.I joined this contest to explore new styles and push myself beyond my usual workflow as a creator. Through this experience, I gained clearer direction in building my own aesthetic and artistic identity in 3D.<img src="https://storagefiles.clo-set.com/public/community/202512/6db6acc9f1144f13a8bd11a6a0645519/images/5d97640ccfb84ee29598e03aeb2b69b9image.png" alt="5d97640ccfb84ee29598e03aeb2b69b9" class="custom-image original-size" data-id="5d97640ccfb84ee29598e03aeb2b69b9" data-width="954" data-height="716"><hr><h3>2. We’d like to hear more about the art direction in your Creator’s contest 2025 Vol.3. What was the visual style you were aiming for?</h3>Anny Han: For this project, I aimed to express the dual identity experienced by many young people living in modern cities.The “Bomb (ボム)” on the back and the “Flower (花)” in the hand symbolize the contrast between destruction and beauty, resistance and acceptance—visualizing the conflicting emotions that coexist within today’s youth.The overall art direction focused on the intersection of tradition and modernity. Inspired by traditional Japanese silhouettes and textiles, I reinterpreted these heritage elements through a contemporary and functional lens. I incorporated delicate stitchwork inspired by Sashiko, a traditional Japanese embroidery technique, to bring a rhythmic and meditative craftsmanship to the garment.To balance this with a modern sensibility, I added technical pockets and a bold graphic bag to enhance practicality, creating a bridge between the past and the future.The flower motif, blooming like an explosion, serves as the centerpiece of the look—turning the garment into a powerful form of visual storytelling.<img src="https://storagefiles.clo-set.com/public/marketplace/202505/57c70236280a403997e3eef3deae4f99/thumbnail/2.png?resize=1&amp;f=webp&amp;w=1680&amp;fit=scale-down" alt="3D 花と爆 (Hana to Baku) Model" class="custom-image original-size"><hr><h3>3. Would you be able to give us a quick overview of the different tools you use in your pipeline with a focus on Marvelous Designer? Have you encountered any challenges and how have you overcome them?</h3><img src="https://storagefiles.clo-set.com/public/community/202512/6db6acc9f1144f13a8bd11a6a0645519/images/a937a8de69ef46f0b15868e10901916cimage.png" alt="a937a8de69ef46f0b15868e10901916c" class="custom-image original-size" data-id="a937a8de69ef46f0b15868e10901916c" data-width="975" data-height="731">Anny Han: I began by creating the garment 2D pattern in a CLO program. Thanks to my background in pattern making, building the base structure was not difficult, but I focused on ensuring the garment made structural sense in real life.In Marvelous Designer, I refined the silhouette by adjusting ease, natural wrinkles, and three-dimensional shape. After assembling the garment, I conducted quick color tests directly inside MD to explore different palettes. Separating parts into UV areas allowed me to manage materials and colors more efficiently throughout the process.<hr><h3>4. Are there any tips and tricks with Marvelous Designer that you can share with the community?</h3>Anny Han: One thing I’ve learned is that continuously studying other creators’ work is essential. Seeing different approaches and styles always pushes me to grow, and I still feel that I have a lot to learn.Rather than relying only on my own habits, I try to broaden my perspective by observing how others use Marvelous Designer and how they express details.These days, I believe combining Marvelous Designer with AI tools can elevate the quality of a project even further—whether for ideation, reference gathering, or enhancing the final presentation.Staying open to new tools and new ways of working is, for me, the most important tip.<hr>

Meet Anny Han: 2nd Place Winner of MDCC Vol.2!

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202512/5f1d01f0486d47c6a3e697123df9c2a1/images/f252645328cc4bc592df1553808e8507WhatsApp%20Image%202025-09-21%20at%209.18.58%20AM.webp" class="custom-image hidden-thumbnail" data-id="f252645328cc4bc592df1553808e8507" data-width="1200" data-height="1600">In this User Spotlight, we are thrilled to introduce Elli: 2nd place award winner in <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/contest/mdcc2025vol3">Marvelous Designer Creator's Contest 2025 Vol.3 "FANTASY ARCHIVES".</a></h2><h2 style="text-align: center">ELLi discusses the story of her creation, and methods on how she created her entry for FANTASY ARCHIVES: the usage of Marvelous Designer to bring a rebellious Victorian queen to life.</h2><img src="https://storagefiles.clo-set.com/public/marketplace/202509/878bf8922dce480e8086207c9c367452/1/thumbnail/WhatsApp%20Image%202025-09-21%20at%209.18.58%20AM.jpeg?w=2560" alt="Award Thumbnail" class="custom-image original-size"><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/878bf8922dce480e8086207c9c367452">Regal Rebel</a><hr>1. Artist Introduction: please tell us about yourself.My name is Ella-Liencha and I live in South Africa. For years I searched for a way to express my creativity. I tried painting, drawing, and writing, but I always felt a pull toward something more - something that would allow my ideas to feel alive. In February 2025, at the age of 31, I discovered Marvelous Designer for the very first time. I had no background in 3D art or digital garment creation, yet the moment I opened the software, I was hooked!My curiosity carried me through every step of the learning process. I was fascinated by how fabric could be shaped to appear structured or fluid, how folds and silhouettes could guide the viewer’s eye, and how each design could evoke an emotion or story. With every experiment, I fell deeper in love with the possibilities.Participating in the Fantasy Archives competition was both an honor and a challenge. I felt I had everything to gain by simply trying. As a lifelong daydreamer, this theme felt like home, an invitation to bring my imagined worlds to life. Since I work a full-time job, most of this came together at night - hours of quiet crafting, stitching digital fabric together while my real world slept. It felt like threading my vision into the garment piece by piece: undoing, redoing, learning, and embracing the unpredictability of the process.Through trial and error, I allowed myself to enjoy the process fully, to follow inspiration rather than control it. That freedom ultimately led me to the piece that placed, and I’m incredibly humbled and grateful for the recognition.<hr>2. We’d like to hear more about the art direction in your Creator’s contest 2025 Vol.3. What was the visual style you were aiming for?To be honest, my initial concept looked nothing like what “Regal Rebel” ultimately became. But the heart of the idea never changed: I wanted to create a queen-like figure who refuses to conform - someone powerful, elegant, and unapologetically rebellious.My visual direction became a blend of Victorian influence and high fantasy - a meeting point between structure and softness, order and defiance. I experimented with how colors, fabrics, and textures could speak to one another: the richness of royalty intertwined with the unpredictability of rebellion.<img src="https://storagefiles.clo-set.com/public/community/202512/5f1d01f0486d47c6a3e697123df9c2a1/images/c303deda450e439a836af4f18f0721d7Untitled%20design%202.png" alt="c303deda450e439a836af4f18f0721d7" class="custom-image original-size" data-id="c303deda450e439a836af4f18f0721d7" data-width="3600" data-height="2025">Creating “Regal Rebel” felt very much like creating art itself. It was about pushing against boundaries, letting intuition lead, embracing mistakes, and trusting the process until the character revealed her true form.Several symbolic choices shaped the final design.The external crinoline cage:Traditionally hidden beneath skirts, here it becomes visible and symbolic. It reflects the “cage” of the Victorian era, its expectations and constraints. By placing it on the outside, her rebellion becomes unmistakable.The shorts instead of a long Victorian skirt:Few things scream rebellion more loudly than wearing shorts in a period defined by restrictive dress! The ruffles and lace preserve the era’s dramatic volume without losing the bold statement.Overall, the visual style aimed to capture a fantasy queen who embodies both grace and rebellion - someone who challenges tradition while still honoring the beauty of where she comes from.<img src="https://storagefiles.clo-set.com/public/community/202512/5f1d01f0486d47c6a3e697123df9c2a1/images/3d956cfa5d5f4e869d701567b2edab3dUntitled%20design%20%281%29%203.png" alt="3d956cfa5d5f4e869d701567b2edab3d" class="custom-image original-size" data-id="3d956cfa5d5f4e869d701567b2edab3d" data-width="2880" data-height="1620"><hr>3. Would you be able to give us a quick overview of the different tools you use in your pipeline with a focus on Marvelous Designer? Have you encountered any challenges and how have you overcome them?Oh wow! I have so much still to learn, and that honestly excites me more than anything. For Regal Rebel, my pipeline was simple but incredibly personal.Marvelous Designer became my sketchbook, my mood board, and sometimes even my chaos playground. I drafted patterns, stitched them together, tore them apart again, reshaped them, and kept refining until the character started revealing who she wanted to be. It was a very intuitive process, less linear, more like sculpting with fabric and movement.One of the biggest challenges was the armor elements. I wanted them to feel structured but not rigid, elegant but protective. Getting them to behave correctly in simulation meant playing and tweaking.<img src="https://storagefiles.clo-set.com/public/community/202512/5f1d01f0486d47c6a3e697123df9c2a1/images/f3fa4f7bf82a49fda904d744d8b10f502D-3D%20Marvelous%20Designer%203.JPG" alt="f3fa4f7bf82a49fda904d744d8b10f50" class="custom-image original-size" data-id="f3fa4f7bf82a49fda904d744d8b10f50" data-width="1917" data-height="1005">I also made heavy use of pressure simulation for the ruffled blouse and subtle gathers. Small changes in pressure and layering brought the softness and movement that helped balance the harsher armor.The external crinoline cage was another adventure. Normally it would hide under a dress, but here I wanted it to stand proudly. Marvelous Designer’s curve tools and thickness settings let me shape it like a structural frame - symbolic, expressive, and unapologetically visible. Once the garments felt alive in Marvelous, I moved into Blender for the atmospheric side of the story.<img src="https://storagefiles.clo-set.com/public/community/202512/5f1d01f0486d47c6a3e697123df9c2a1/images/358ee9bf08ab4d28bcc0f032873090982D%203.JPG" alt="358ee9bf08ab4d28bcc0f03287309098" class="custom-image original-size" data-id="358ee9bf08ab4d28bcc0f03287309098" data-width="1902" data-height="1028">Creating the boot cuffs and lacing was surprisingly one of the most time-consuming steps. I rebuilt those pieces several times in Marvelous until the tension and direction of the straps felt believable. But once they finally worked, they grounded the entire silhouette.<img src="https://storagefiles.clo-set.com/public/community/202512/5f1d01f0486d47c6a3e697123df9c2a1/images/40799857c8784b2c8582183b588e393a2D%20Close-Up%203.JPG" alt="40799857c8784b2c8582183b588e393a" class="custom-image original-size" data-id="40799857c8784b2c8582183b588e393a" data-width="779" data-height="996">In the end, Marvelous Designer gave me the structure and movement, and Blender let me wrap everything in emotion. Both tools together helped me bring Regal Rebel to life - a queen who stands in elegance, defiance, and power.<hr>4. Are there any tips and tricks with Marvelous Designer that you can share with the community?If there’s one thing Marvelous Designer has taught me, it’s this: play. Be curious, be bold, be messy, be experimental. Don’t worry about always being “right” - worry about being alive in your creativity.I came into the 3D world with no background at all, and I realized very quickly that Marvelous Designer rewards those who explore. Every time I pushed a button I didn’t fully understand, every time a simulation exploded into chaos, every time I stitched the wrong line and everything collapsed, I learned something new. You are never too old, too new, or too inexperienced to follow your passion. But above all else: enjoy the process. Marvelous Designer is both a tool and a playground. Approach it with curiosity, and it will reward you with unexpected beauty.If you’re stepping into 3D for the first time - welcome. It’s never too late, and your voice, your vision, and your story absolutely belong here. I am in awe every time I see the creators on Connect - their visions, their stories, the worlds they bring to life. They inspire me constantly. Being part of this community feels like my heart could burst; it’s one of my greatest motivators and one of the biggest joys of this journey.<hr>

 ELLi: Shaping a Daydream to a Digital Fantasy -  MDCC Vol3 2nd Place Award Winner

Hi, I'm new here and trying to upload my design to the Connect Store—how long does "Pending" usually take? Mine seems stuck.

Connect Store pending issue

Greetings - I can see that the seam allowance is not taken into account when automated nested is executed. I have a workaround I added a 10mm buffer as per the seam allowance, but still it seems inacurate to me specially if I have different values seam allowance in the pattern . Or is there a new option I missed ? Or is it intended ? Thank you!<img src="https://storagefiles.clo-set.com/public/community/202512/246446ef9c4049e4844c4f1fb8377834/images/9a60f912c13d4bb895cf8784a7a79835image.png" alt="9a60f912c13d4bb895cf8784a7a79835" class="custom-image original-size" data-id="9a60f912c13d4bb895cf8784a7a79835" data-width="1225" data-height="862"><img src="https://storagefiles.clo-set.com/public/community/202512/246446ef9c4049e4844c4f1fb8377834/images/1e905612b7474da389f40cf74f88eef9image.png" alt="1e905612b7474da389f40cf74f88eef9" class="custom-image original-size" data-id="1e905612b7474da389f40cf74f88eef9" data-width="177" data-height="33">

MS. MARVELOUS

Marvelous Designer Official

Marvelous Designer Official