<img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/366fb9bc4626458f90c96f15be45e2a7Header_EN%20%282%29.png" class="custom-image hidden-thumbnail" data-id="366fb9bc4626458f90c96f15be45e2a7" data-width="1240" data-height="652"><img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/53157150cf9a411784e7784baa7c8025Header_EN%20%281%29.png" class="custom-image hidden-thumbnail" data-id="53157150cf9a411784e7784baa7c8025" data-width="1240" data-height="540">Meet <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.linkedin.com/in/vaibhavnegi/">Vaibhav Negi</a>, a CGI industry veteran with 10+ years of experience and a member of Marvelous Designer. In this spotlight, Vaibhav shares how he brought a photoreal character inspired by India’s traditional ritual, Bhoota Kola, to life. Discover how he utilized Marvelous Designer for over 80% of the asset—from complex layered garments to a brilliant workaround for creating intricate flower garlands and straw skirts using lightweight, production-ready workflows.<hr> <img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/743e4fbec1164392aa187b0bf63763443%20%281%29.jpg" alt="743e4fbec1164392aa187b0bf6376344" class="custom-image original-size" data-id="743e4fbec1164392aa187b0bf6376344" data-width="1500" data-height="2000"><h1>Software Used</h1>Blender – lighting, texturing, Rendering Marvelous Designer – Cloth Simulation &amp; Animation<h1>Artist Introduction</h1>Hey, I’m Vaibhav. I feel like an imposter here because I’m part of Marvelous Designer’s internal design team. That said, long before I joined the company, I was already a strong believer in the software.I have over 10 years of experience in CGI, with more than six years of that spent using Marvelous Designer as a core part of my workflow. My background is in CGI advertising and automotive visualization, while my personal passion lies in creating animated short films and video games.Throughout my career, Marvelous Designer has consistently been one of the tools that has had the biggest impact on both the quality and speed of my work.<h1>Please introduce your project.</h1>The project I’ll be talking about today is a character inspired by Bhoota Kola, one of India’s many traditional ritual practices. The ritual also served as the central theme of the critically acclaimed Indian film Kantara.My goal was to create a photoreal digital replica of the performer that could be optimized for both film and game production. More than 80% of the asset was created using Marvelous Designer. <img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/a7395529dafb48e0b29e2e52b281d55cArtboard%201.jpg" alt="a7395529dafb48e0b29e2e52b281d55c" class="custom-image original-size" data-id="a7395529dafb48e0b29e2e52b281d55c" data-width="1498" data-height="1466"><img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/ab88e7776b2c4c86884460108bf9c3c9Screenshot%202026-05-28%20090507.png" alt="ab88e7776b2c4c86884460108bf9c3c9" class="custom-image original-size" data-id="ab88e7776b2c4c86884460108bf9c3c9" data-width="2559" data-height="1439">The project also gave me an opportunity to explore complex layered garments and traditional ornaments, including flower garlands, ceremonial necklaces, and the iconic straw skirt. Beyond recreating the visual appearance, I wanted to capture the richness and authenticity of the costume while maintaining production-ready efficiency.<h1>Tell us how Marvelous Designer creates value in this project.</h1>Character creation is a highly complex process. Sculpting every element by hand requires significant time, technical skill, and a deep understanding of form design. Realistic garments add another layer of complexity, and once the assets are created, they still need to be retopologized and UV-mapped before they become practical for film or game production.For me, Marvelous Designer replaces much of the highly skilled craftsmanship involved in creating dimensional forms with the more structured and intuitive principles of garment design. That shift alone dramatically accelerates the process.<img src="https://storagefiles.clo-set.com/public/community/202606/72aaae299f0a41c6b102f152cadf78a1/images/dddd4953699b4e42a4a602bf6b942e9fArtboard%202.jpg" alt="dddd4953699b4e42a4a602bf6b942e9f" class="custom-image original-size" data-id="dddd4953699b4e42a4a602bf6b942e9f" data-width="1857" data-height="839">This project involved a large number of layered garments, and Marvelous Designer handled them exceptionally well. It remains the most natural and lifelike way I know of creating digital clothing.The integrated retopology and UV workflow saved a tremendous amount of time and allowed me to add levels of detail that would have been difficult to achieve otherwise.I also wanted to experiment with creating traditional flower garlands inside Marvelous Designer. The solution I arrived at was surprisingly simple but extremely effective. I created a tileable 3D pattern and used it as a button asset without enabling button simulation. This produced a visually rich garland that remained lightweight and efficient.The straw skirt followed a similar philosophy. While it appears highly detailed, it was built from a single simulated strand setup that was duplicated and arranged repeatedly. The result was a complex-looking asset created through a very efficient workflow.<h1>Are there any other unique projects you worked on using Marvelous Designer that you would like to showcase to our community?</h1><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/3IYeUIfTwEs?si=yk9M6jO1SaG4_sCg" 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>Over the last few years, I’ve created several animated short films that relied heavily on Marvelous Designer, and I’m particularly proud of two projects.The first,<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=3IYeUIfTwEs"> A House of My Own</a>, is a personal tribute to one of my former rented apartments, the first place that truly felt like home.The second is an adaptation of a story by one of my favorite writers, Ruskin Bond. Called <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=j14YXtGmwbw">In the dark</a>, The film was well received at several film events and earned multiple screenings, which was incredibly rewarding as an independent creator. <div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/j14YXtGmwbw?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>Both projects reinforced how valuable Marvelous Designer can be, not only for character work but also for storytelling.<h1>What is your favorite feature or tool to use in Marvelous Designer?</h1>The Retopology and UV Mapping tools are an easy choice for me.They make the transition from high-resolution assets to production-ready meshes incredibly intuitive. Being able to handle retopology and UVs directly within the same workflow saves time, reduces friction, and makes transferring detail from high-poly meshes much more efficient.<h1>For other users considering Marvelous Designer, do you have any advice or experience to share?</h1>Two tips completely changed the way I work:Think in layers. Approach your garments the same way you would approach a traditional painting. Focus on the large forms first, then gradually build detail. As sections are completed, freeze them and continue refining the next layer. This keeps simulations stable and the workflow manageable.Use cloth simulation, even if it’s subtle. If you’re creating animated films, adding even a simple cloth simulation can bring a surprising amount of life and realism to a character. As a bonus, natural cloth movement can often help mask small imperfections in animation.

Recreating the Richness of Traditional Indian Costume with Marvelous Designer

Cut, Slash & Corset

Championship Thread

Sleek Tights

FV2 Swim Shorts

donsavx

Footwear Collection 2026.0

Inside the Costa Rican Brand Designing Entire Collections in CLO

<h2 style="text-align: center">Travis Davids shares a breakdown of how South Parks iconic character, Kenny’s outfit was created, with a big, medium, small approach with the garments.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/e1a6165933bb46c18d0157ad6c77c11ee8da6fea12c74b85bfdef7b7fb81e6c1.png" class="custom-image original-size" data-id="e1a6165933bb46c18d0157ad6c77c11e" data-width="1135" data-height="936"><h1 style="text-align: center">Interview with Travis Davids| South Park | 3D Generalist</h1><hr><h1>1. Artist Introduction</h1>Hello, my name is Travis Davids, I'm from Johannesburg, South Africa and I'm a freelance digital artist and content creator.I primarily focus on creating 3D related content in the form of tutorials or resources for digital artists. My content is available on multiple websites like YouTube, Gumroad and Artstation.I’m a 3D generalist who loves experimenting with multiple workflows.I’ve been doing 3D full time since 2015 but my journey started in 2007 when i created mod items for a video game called The Sims. It sparked my interest to explore an expanding universe of endless possibilities.3D gave me a platform to bring my ideas and emotions to life. It’s something I'm very passionate about and I thoroughly enjoy the endless journey of self improvement.Love what you do and do what you love!<h1>2. Workflow for your artworks with a brief introduction</h1>I used Marvelous Designer to create realistic outfits for all of my reimagined characters for South Park.Reimagining South Park Characters&nbsp;I followed the same approach for every garment. I will do a breakdown of how Kenny’s outfit was created.&nbsp;All of my garments start with the most basic building blocks. I follow a Big, Medium, Small approach with my garments.&nbsp;Big&nbsp; Basic shapes and buildings blocks to create a basic template with a great fit.&nbsp;Medium&nbsp; Detailing the garment, adding new elements to the design.Small&nbsp; Adding smaller details like internal lines for topstitching, seams, buttons, and layer clones as well as reducing the particle distance to 5 or 3.Detailing the garment further in Zbrush and bringing it to completion is also included during this phase.&nbsp;Creating The Base (BIG)I focus primarily on creating a garment with a good base.Once you have a good base created that fits your avatar correctly, you can transform that basic template into a variety of different garments.In this case, I had a long sleeve t-shirt I created that fit Kenny perfectly and I tweaked it to turn it into a jacket.This saved me some time from having to create the base garment from scratch.&nbsp;I use Daz Studio to generate my human characters. They are fully rigged and easy to pose.&nbsp;I always create my garments on a character that is in a T-Pose or A-Pose.It makes your life a lot easier to create the patterns and drape a garment on a symmetrical pose.Later on once you’re detailing the garment further you can transition to a different pose.I also keep my particle distance on 20 or 15 during the early stages for the sake of performance.I’ll also use GPU simulation in certain instances to see my simulation results in what can only be described as real time and then go back to normal simulation mode for accurate results.<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/86da97e0bfb243c29a3cd56dd6e7f2d13f4a510bfd90475c952333479055757a.png" class="custom-image medium-size" data-id="86da97e0bfb243c29a3cd56dd6e7f2d1" data-width="1567" data-height="995">QUICK TIP: When you are creating your basic shapes, don’t add curvature to the pattern while you’re drafting it, add this afterwards by using the “Edit Curvature” tool.You will thank yourself later because by adding curvature afterwards, if you go to “Edit Pattern” you will have access to anchor points that you can adjust to control the amount of curvature.This makes the process of adjusting curvature non destructive and easy to change.&nbsp;Transitioning To A Different Pose<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/f14a43b058594ff9a94d951d20405100cfb72430c3f14fb1a395b0030f6c3fb9.jpg" class="custom-image original-size" data-id="f14a43b058594ff9a94d951d20405100" data-width="1516" data-height="995">Once I have a good base I'll actually use morph targets to see how my garment looks in a different pose.Since I’m&nbsp;using morph targets i can easily go back to the a-pose if I need to further adjust my garment.&nbsp;QUICK TIP: There are various ways to transition to different poses but an easy method is to use morph targets.If you saved out two obj’s of your character (a-pose and posed), import the a-pose first and drape your garment on the a-pose.Now go to “File” “Import OBJ” and instead of importing an OBJ as an avatar, import it as a morph target so change “Object Type” to Morph Target.Your character will transition from the a-pose to the next pose.&nbsp;Detailing The Garment Further (MEDIUM)During this phase I decrease my particle distance to 10 just to see a better representation of my fabric.Since the garment is going to be getting more detailed I might lose some performance but i can always go back to 15.The majority of my time is spent on this process by creating new garment pieces like the hood, adjusting fabric settings, choosing different fabric colors,adding render thickness to the garment to get a much better idea of what the garment looks like with thickness and changing it to “Thick Textured Surface” to see the end result.I always add thickness in Marvelous Designer even if i plan on exporting a thin version of the garment.If I'm going to add thickness in zbrush, I can just reference the thickness I created in MD.Garments are usually not paper thin and by adding just a subtle layer of thickness, it gives the garment a much better visual representation.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/b38163beadd44cdb826cef12f0fc8a1f37296d5c5c314d63b85244254e20b19a.png" class="custom-image original-size" data-id="b38163beadd44cdb826cef12f0fc8a1f" data-width="1569" data-height="993">QUICK TIP: Use Marvelous Designer 10’s brand new “Quality Render” feature to see what a garment looks like with ambient occluded shadows.It gives you a much better representation of what the garment would look like if I was actually rendered. Folds and wrinkles look so much better with this enabled.&nbsp;Adding The Finer Details (SMALL)Now it’s all about the small details. Since I was creating a jacket and I wanted it to visually look warmer, I created a layer clone of the garment.A layer clone doubles up your fabric and is a fantastic method to make garments look thicker/warmer.Any internal lines that you have included on your pattern will be a lot more visible on a layer clone.It’s almost like adding the icing on top of a cake and works very well if you’re creating jackets.Keep in mind that sometimes you might need to change the layer order of a layer clone to prevent it from causing simulation issues,and then bring it back to its original number to make everything simulate correctly.I add internal lines along the seams of the garment and adjust the fold angle to make them more predominant.&nbsp;Once i’m happy, i’ll reduce my particle distance to 5 or 3 to get the best quality possible.I’ll also quandragulate my garment in MD if i plan on taking it over to zbrush for additional sculpting. I’ll also arrange my UV’s in MD’s UV Editor so everything is nice and organized.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/39fa1144851d44f68d701b0ad64ee2bdc8344b97d4dc41f0b4a43d89b369c398.png" class="custom-image original-size" data-id="39fa1144851d44f68d701b0ad64ee2bd" data-width="1935" data-height="1001">Since I didn't intend on adding thickness in another program to this garment,I could select my entire pattern for different garment pieces, go to “File” “Export OBJ Selected” and export my garment as “Multiple Objects", "Thick”,and I make sure “Unified UV Coordinates” is selected.&nbsp;I also put my scale on “cm (Daz Studio) and my % at 100% and then click on ok.&nbsp;QUICK TIP:&nbsp; If you’ve created a garment with multiple pieces like a t-shirt, jacket and pants, export these pieces individually instead as one garment.It keeps everything organized to have these garments separated as their own OBJ’s.&nbsp; Assembling The Scene&nbsp;For Kenny’s outfit I only did a little bit of detailing in Zbrush by sculpting additional folds but Marvelous Designer did all of the heavy lifting.I assemble my scenes in Cinema 4D and create all of my materials with Octane Render.With certain garments I'll also do my texturing in Substance Painter or create my own tileable materials from scratch with Substance Designer.The scene is basic with only 2 area lights. I also used the power of artificial intelligence from Artbreeder to generate a realistic human face for Kenny.If you want to see my entire workflow I have uploaded a breakdown video on youtube via <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/AClov4mK-PU">this link.</a><img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/51186b64295945ed8e3f18d5fe9c4977b7e4c2afc23046e6968609a67a1b7ee4.jpg" class="custom-image original-size" data-id="51186b64295945ed8e3f18d5fe9c4977" data-width="1497" data-height="2142">by Travis DavidsLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/c/TravisDavids/videos">Youtube</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/mrdavids">Artstation&nbsp;</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/travis.davids/">Facebook</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/mrdavids2/">Instagram&nbsp;</a>

South Park

Creator's Contest 2025 Vol. 2 TOKYO CONTINUUM

<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/0c97f0fd94dc4c86a7044a228a72398fmd_pic2.png" alt="0c97f0fd94dc4c86a7044a228a72398f" class="custom-image original-size" data-id="0c97f0fd94dc4c86a7044a228a72398f" data-width="1920" data-height="1080"> 于 2025 年 10 月开播的动画《绝妙舞步》，是一部挑战“街舞”这一独特题材的作品。其幕后制作工作室 CYCLONE GRAPHICS表示，为了在舞者激烈的动作与街头服饰特有的“宽松感”及多样化款式之间取得平衡，采用 Marvelous Designer 是其团队的“必然选择”。</h2>通过高速且精准的物理模拟，他们实现了传统方法无法企及的“海量设计数量”与“精准的布料动态”，并在缩减制作工时方面取得了突破性进展。本文将深入探讨其背后的技术挑战：包括如何利用 Blender 进行独特调整，将 Marvelous Designer 生成的写实褶皱数据转化为动画风格；以及他们基于“运动状态才是服装的完成形态”这一理念，追求完美动态轮廓的制作方法。 此外，我们还探讨了他们与数字时尚专家 Tenju 公司的合作，以及 Marvelous Designer 将如何拓展未来动画制作的整体可能性。<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><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><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><hr>1.&nbsp;&nbsp;关于街舞与 Marvelous Designer[Q]: 《绝妙舞步》是一部专门聚焦于街舞题材的独特动画。在这个项目中采用 Marvelous Designer 的初衷是什么？ [A]: Marvelous Designer 高速且精准的物理模拟能够呈现动作中的重力感以及写实的褶皱细节，而这些正是传统 3DCG 制作一直难以克服的挑战。在实际应用中，与其他 3DCG 软件的物理模拟相比，Marvelous Designer 显著减少了后期处理和修正的工作量。制作《绝妙舞步》的最大挑战在于，我们需要在处理海量舞蹈动画的同时，准备多种多样、且极具街头时尚真实感的服装款式。在传统的 3DCG 制作中，我们必须为每一套服装单独建模，并重复进行刷权重和绑定等繁琐流程。然而在这个项目中，我们通过 Marvelous Designer 的3D缝纫功能完成了所有这些服装的制作。<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/c1f60d1e1ac94da6b14ca9dfe5ec45fa1%E3%82%B9%E3%83%88%E3%83%AA%E3%83%BC%E3%83%88%E3%83%80%E3%83%B3%E3%82%B9%E3%81%A8MD%E3%81%AB%E3%81%A4%E3%81%84%E3%81%A61_clothes.jpg" alt="c1f60d1e1ac94da6b14ca9dfe5ec45fa" class="custom-image original-size" data-id="c1f60d1e1ac94da6b14ca9dfe5ec45fa" data-width="1998" data-height="2897">通过引入 Marvelous Designer 的物理模拟，我们实现了与舞者激烈动作完美联动的精准布料动态，且无需重复复杂的手动劳动。这让我们得以在实现海量设计（这在传统方法下几乎是不可能完成的）的同时，兼顾了高品质的写实模拟效果。<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>此外，3D 缝制让“穿戴后的尺寸调整”变得非常容易，这使我们能够对嘻哈时尚中典型的宽松轮廓 (Baggy Silhouettes) 进行顺畅的微调。能够通过舞蹈模拟实时查看运动中的轮廓，对我们的制作来说是一个巨大的优势。<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>现在回想起来，我深信对于像《绝妙舞步》这样的项目来说，采用 Marvelous Designer 不仅仅是一个选择，而是一种“必然”。<hr>2. 平衡写实与动画表现[Q]: Marvelous Designer 以其基于写实物理的服装表现而闻名，但我们认为动画往往需要经过“修饰”处理，才能达到理想的表现效果。你们是如何在两者之间取得平衡的？ （例如：为了避免模拟结果显得过于繁琐，你们是否简化了褶皱？或者为了契合动画风格对板片做了特殊调整？）[A]: 《绝妙舞步》的动作捕捉理念是“由舞者绘就的动画”。我们坚信，不仅是舞蹈的力度感，衣服上的每一处褶皱都应当是源自舞者动作的一种表达。Marvelous Designer 能够重现非常柔软且写实的布料弯曲效果，但如果直接拿来使用，对于动画风格的外观来说信息量实在是太大了。因此，我们需要有意识地通过“减少并整理褶皱数量”来进行调整。实现这种外观调整的关键，是本项目的主力工具，Blender。我们并没有直接使用 Marvelous Designer 生成的写实褶皱信息，而是利用了 Blender 的几何节点。我们对原始法线信息进行了模糊处理，将其存储为“属性”，然后在着色器编辑器端进行调用和控制。这种方法让我们既能保留源自 Marvelous Designer 的写实动态，又能将其转化为与传统 2D 手绘作画完美融合的“动画风格外观”。<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/7d22e96893b04c93a4087516269b543f2%E3%83%AA%E3%82%A2%E3%83%AA%E3%82%B9%E3%83%86%E3%82%A3%E3%83%83%E3%82%AF%E3%81%95%E3%81%A8%E3%82%A2%E3%83%8B%E3%83%A1%E7%9A%84%E8%A1%A8%E7%8F%BE%E3%81%AE%E3%83%90%E3%83%A9%E3%83%B3%E3%82%B91_%E3%81%97%E3%82%8F%E6%B3%95%E7%B7%9A%E3%82%B9%E3%83%A0%E3%83%BC%E3%82%B9.png" alt="7d22e96893b04c93a4087516269b543f" class="custom-image original-size" data-id="7d22e96893b04c93a4087516269b543f" data-width="3508" data-height="2480">我们在《绝妙舞步》中 Marvelous Designer 工作流的另一个显著特点是，所有的调整都是基于舞蹈中的动作展开的。在常规的服装制作中，往往会优先考虑静止站姿（T-pose 或 A-pose）下的效果，但我们特意避开了这一点。从服装的垂坠感、下摆长度到整体的体积感，我们严格地将调整重点放在“跳舞时的表现”上。我们的目标是确保在激烈的舞步和大跨度动作中，能够呈现出最帅气、最优美的轮廓。秉持着”运动状态才是服装的完成形态”这一理念，对于像本作这样以舞蹈为主题的项目来说，这或许是某种必然的选择。我们并非被动地接受模拟结果，而是在不断检查动作的过程中，执着地追求完美的剪影轮廓，从而将舞蹈的动态美感发挥到极致。<hr> 3. 控制激烈动作（舞蹈）[Q]: 角色在进行包含高速旋转和跳跃的激烈舞蹈时，穿着的是连帽衫和多层叠穿等制作难度极高的服装。在模拟这些极端动作时，最大的挑战是什么？[A]: 所幸，需要这种程度特殊处理的服装并不算多。我们面临的主要挑战在于“如何不偏离原画的角色设定”。具体而言，连帽衫在跳舞过程中可能会滑向头部，但不应一直盖在头上；衬衫下摆可能会在一瞬间翻起，但不应保持翻折状态。为了防止在激烈动作后出现严重的服装形态崩坏（即便这种状态在物理模拟上是准确的），我们大量使用了固定针和假缝功能。 <img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/49f340b3b0fc4375b59fe47fb5d5b9b93%E6%BF%80%E3%81%97%E3%81%84%E5%8B%95%E3%81%8D%28%E3%83%80%E3%83%B3%E3%82%B9%E3%81%AE%E5%88%B6%E5%BE%A1%291_%E9%83%A8%E6%B4%BB%E7%B4%B9%E4%BB%8B%E3%83%80%E3%83%B3%E3%82%B9%E3%83%91%E3%83%BC%E3%82%AB%E3%83%BC%E3%81%AE%E3%83%95%E3%83%BC%E3%83%89.jpg" alt="49f340b3b0fc4375b59fe47fb5d5b9b9" class="custom-image original-size" data-id="49f340b3b0fc4375b59fe47fb5d5b9b9" data-width="3508" data-height="2480"><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>[补充提问][Q]: 在街舞中，服装的律动感可以说是舞者个性的延伸。你们是否针对每个角色的舞蹈风格，单独调整了布料的物理属性（如重量、摩擦力、厚度等）？（例如：为力量感较强的舞者设置较重的面料，而为动作流畅轻盈的舞者设置较轻的面料。） [A]: 我们最优先考虑的是匹配角色设定中的面料材质（如运动衫、卫衣、牛仔面料等），而服装的动态效果则主要通过调整板片来控制。由于调整布料模拟中多样且复杂的参数通常非常耗时，Marvelous Designer 的预设功能给了我们很大的帮助。<hr>4. 与 Tenju 公司的合作[Q]: 我们听说在本项目中，你们与数字时尚专家 Tenju 公司合作创建了服装板片。这种伙伴关系如何增强了你们在 Marvelous Designer 中的制作流程？此外，与传统的 CG 资产交换相比，在工作室之间共享“MD 项目文件”有哪些独特的发现或流程优势？ [A]: 实际上，将 Marvelous Designer 引入我们工作流的最大障碍在于“缝制（板片）”的概念。由于我们以前完全是靠传统的建模方式来制作服装，从未想过自己会需要掌握实际的裁缝和制版知识。<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/8413b5cfdbf24bafae27b76be35a7ca44%E6%A0%AA%E5%BC%8F%E4%BC%9A%E7%A4%BE%E5%85%B8%E6%A8%B9%E3%81%A8%E3%81%AE%E9%80%A3%E6%90%BA1_%E6%B9%BE%E7%94%B0%E5%88%B6%E6%9C%8D%E3%82%AB%E3%83%BC%E3%83%87%E3%82%A3%E3%82%AC%E3%83%B3_%E6%9C%80%E7%B5%82%E3%83%91%E3%82%BF%E3%83%BC%E3%83%B3.jpg" alt="8413b5cfdbf24bafae27b76be35a7ca4" class="custom-image original-size" data-id="8413b5cfdbf24bafae27b76be35a7ca4" data-width="2564" data-height="1318"> <img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/a7b99975138f4e74abf1af03b61b7f464%E6%A0%AA%E5%BC%8F%E4%BC%9A%E7%A4%BE%E5%85%B8%E6%A8%B9%E3%81%A8%E3%81%AE%E9%80%A3%E6%90%BA2_%E3%82%AB%E3%83%9C%E3%81%AE%E7%B7%B4%E7%BF%92%E7%9D%80_%E6%9C%80%E7%B5%82%E3%83%91%E3%82%BF%E3%83%BC%E3%83%B3.jpg" alt="a7b99975138f4e74abf1af03b61b7f46" class="custom-image original-size" data-id="a7b99975138f4e74abf1af03b61b7f46" data-width="2564" data-height="1318">说到我们的 MD 服装板片，就绝对绕不开 Tenju 公司。毕竟，我们真的是从“学习衣服是如何制作出来的”这一起跑线上开始的。Tenju 公司基于动画的服装设计方案，为我们创建了海量的服装板片。<hr>5. 拓展动画表现力与未来前景[Q]: 继本次工作流取得成功后，您认为像 Marvelous Designer 这样的工具未来将如何改变动画制作？（您是否认为它为那些想要创作动作类作品，或聚焦时尚题材动画的创作者们开辟了新的可能性？）[A]: 通过这次工作流的实践，我深信像 Marvelous Designer 这样的工具不仅能极大地拓展时尚类作品的可能性，更将惠及整个动画制作行业。特别是对于写实风格的群展场面、大规模战争以及激烈的战斗描写，Marvelous Designer 将成为大幅减轻制作负担、同时提升表现质量的极其有效的手段。如果我们能最大限度地利用“工具可实现高效化”的部分，就能将资源集中在真正需要投入精力的环节，例如导演构思和手绘作画。此外，令我惊讶的是，尽管 MD 执行的是高级物理模拟，但其操作感却异常轻便且响应迅速。我感到这种直观的操作体验不会阻碍创作者在反复试错过程中的想象力，最终提升了整体的表现品质。<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>[补充提问][Q]: 基于这次经验，您认为与传统方法相比，在动画制作中使用 Marvelous Designer 的“最大优势”是什么？[A]: 对于像《绝妙舞步》这样的项目，如果没有 Marvelous Designer，想要在处理海量舞蹈场景的同时兼顾极其多样的服装款式，是完全不可能实现的。它对我们制作一线产生的冲击力就是如此巨大。我认为它与传统方法最决定性的差异，也是其最大的优势，在于“能够挑战纯粹的‘理想视觉效果’，而无需在动作表现或时尚细节上做出任何妥协。”以前那些由于技术瓶颈或制作工时压力而不得不放弃的表达，现在通过 Marvelous Designer 都能得以实现。为创作者提供一个无需对“真正想展示的画面”做出妥协的环境——我认为这才是采用这款工具的真正价值所在。

通过板片建模与布料模拟实现丰富的舞蹈表现： Marvelous Designer 在《绝妙舞步》中的应用实践

Collection A

<img src="https://storagefiles.clo-set.com/public/community/202607/7f7e053c20334e9e93ecf32a3ee7c5d5/images/9307badac38d460f9ea052635195fd2eScreenshot%202026-07-08%20at%2018.05.06.png" alt="9307badac38d460f9ea052635195fd2e" class="custom-image original-size" data-id="9307badac38d460f9ea052635195fd2e" data-width="1094" data-height="882">How To Move Two Nodes To The Opposite Direction At Once?I want to move the nodes C and D to the opposite direction 2 cm.How can I do this?

Recreating the Richness of Traditional Indian Costume with Marvelous Designer

Marvelous Designer Official

Marvelous Designer Official