<h2 style="text-align: center">Meet Sarah, a skilled 3D designer, as she unveils her process for crafting hard-surface armor using Marvelous Designer. The hard surface look is seamlessly achieved within the creative realm of Marvelous Designer.</h2><hr><h1>Interview with Sarah Prado | Armor Creation in MD | 3D artist</h1><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/30efa36ca78444c980c8506dcd6a44dd2733c7e3de954fbcb3d558d99ff94578.png" class="custom-image original-size" data-id="30efa36ca78444c980c8506dcd6a44dd" data-width="3000" data-height="2504"><h1>Artist Introduction.</h1>My name is Sarah, I am a Brazilian 3D Artist, Fashion Designer, gamer, and mother of cats. I have a university degree in Fashion and for more than 10 years I worked as a designer, patternmaker, and seamstress in local industries, mainly with bridal gowns and formal wear for women.I had my first experience with Marvelous in 2020 during the Covid lockdown, which has blown my mind. Since then I have fully migrated to 3D, where I can work with more fantastic designs and test patterns for much less expense and much less waste.Nowadays I use mainly Marvelous, Substance Painter, and Blender.Although one can apply Marvelous into to a range of areas such as home decor and stylized characters, I really enjoy working with realistic but fantastic designs.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/47381740a2d046839a26fbfdfbe2add5sorceress%20isometric.png" class="custom-image original-size" data-id="47381740a2d046839a26fbfdfbe2add5" data-width="3059" data-height="3060"><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/76f1edc7c11b4a318b0bb57004547425cathedral%20render3-front2.png" class="custom-image original-size" data-id="76f1edc7c11b4a318b0bb57004547425" data-width="1000" data-height="1200"><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/3200103c62c24e228272db1d2e6a67ddcathedral%20render3-back2.png" class="custom-image original-size" data-id="3200103c62c24e228272db1d2e6a67dd" data-width="1000" data-height="1200"><h1>You've recently released impressive armor creations that have received a tremendous response from the user community. We are extremely curious to know what inspired you to implement armor creation that can be created on hard surfaces in other software. Can you tell us more?﻿</h1>﻿This artwork in particular came from this annoying situation that older gamer girls would face when playing RPG and fantasy genre when the armor supposed to protect the character's body is actually more like a bikini made of steel and sheer fabric. So I made a meme-like expectation vs reality artwork. It was fun and I enjoyed how both versions ended up, but I put much more time and research into the realistic one.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/1fdd42fb51714dae9d01020023fa6842expectation%20x%20reality2.png" class="custom-image original-size" data-id="1fdd42fb51714dae9d01020023fa6842" data-width="4170" data-height="4083"><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/9b3ec971b5014c318e0dd64919e59938armor%20ref.png" class="custom-image original-size" data-id="9b3ec971b5014c318e0dd64919e59938" data-width="3000" data-height="2073"><h1>What was your primary focus in your artwork? What are the powerful benefits of making armor using Marvelous Designer?</h1>It is kind of a personal challenge since I was told I could nor should do any of the sort in clothing simulation software. So I've been playing with adding hard-surface elements totally made into Marvelous in previous artworks before the armor with great results even when simulating animation and the main reason for that is: I'm a total noob in other programs.As a fashion designer, I guess I'm more functional thinking in clothing patterns than as a sculptor. I have no idea if a blacksmith would use cut pieces of flat metal to bend and weld into armor, but that's definitely what I would do. I think that's what cosplay makers do, anyway.So, why not? People come from different backgrounds and I think we all should be allowed to go after the results we want no matter the tool we are more comfortable with!<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/f02d686156544563a2db50a39230c4faarmor%20marvelous.png" class="custom-image original-size" data-id="f02d686156544563a2db50a39230c4fa" data-width="2134" data-height="1226"><h1>Would you be able to provide us with an overview of your pipeline, focusing on Marvelous Designer? Have you encountered any challenges and how have you overcome them?</h1>Of course! It's basically a fabric with stiffer but smooth aspect presets (high shear, high bending, medium stretch, etc) and fold angles.I like starting with an avatar in A-pose, where I make a doublet: a regular fabric garment usually worn under the armor. I keep it single-layered since most of the reverse won't be shown, the sewn lines are actually internal lines with fold angles over 180.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/7715e9b907d244d5a7da85066f035733step1.png" class="custom-image original-size" data-id="7715e9b907d244d5a7da85066f035733" data-width="2487" data-height="1267">Then I add the patterns to be the armor itself, I like to start with a Trim Full Grain Leather fabric and then tweak its properties until it reaches the desired hardness.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/8c308fd6f361446aad510aa61916fefastep2.png" class="custom-image original-size" data-id="8c308fd6f361446aad510aa61916fefa" data-width="2502" data-height="1269">To keep the armor pieces attached one to another I use internal lines to emulate rivets or links. I may model some leather stripes to attach the metal pieces too. It will serve as a guide later when texturing to make it look like a rivet.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/f06bc6ff50fd437ebfb81e5387a193e7step3.png" class="custom-image original-size" data-id="f06bc6ff50fd437ebfb81e5387a193e7" data-width="2489" data-height="1278"> That done, I go to designing the surface angles using internal lines and changing the fold angles too, &lt;180 for the pinch effect and &gt;180 for creases. Some designs will need several internal lines and different fold angles. It may be needed to apply fold angles on the sewing lines too. That's what will make the sculpted appearance of the metal plates. Fold angles only show in 3D when simulating in "normal" or "fitting" modes, "fast" mode does not deliver a good result.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/424f8901080b49eab71c0421e1342b2fstep4.png" class="custom-image original-size" data-id="424f8901080b49eab71c0421e1342b2f" data-width="2498" data-height="1314">Depending on the piece, it also should be necessary to apply bond or seam tapings ("under the collar" preset is great for this) and, after reaching the desired shape, solidify so it stays in place.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/769a5db341de4247b5134d5a12bf02a0step5.png" class="custom-image original-size" data-id="769a5db341de4247b5134d5a12bf02a0" data-width="2486" data-height="1277">Last but not least, I like to play with the thickness too. Usually, I lower the curved side geometry or even remove it to keep it more angular.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/ac61a436bc224a6cb8df73e186c81f44step6.png" class="custom-image original-size" data-id="ac61a436bc224a6cb8df73e186c81f44" data-width="2495" data-height="1311"> That's the essence of how I make armor and hard-surface elements using Marvelous!The only challenge I faced was that I had to adapt the patterns to visually fit what I wanted.For example, the cords that fasten the vambraces were not really long cords but little pieces sewn in the right places; the buckles were not really buckles but hard fabric cut in the right shapes. It doesn't need to be, just needs to look like it is. Anything else just required patience and creativity to shape the design.<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/f468b275282443648dc65289f82ee263step7.png" class="custom-image original-size" data-id="f468b275282443648dc65289f82ee263" data-width="2134" data-height="1272"> <h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1>There's one I like: for some pieces when you need to have a gap, for example, a corset backside or a deep neckline you want to keep in place, just make a piece of pattern fitting the gap and sew to the piece borders, then when simulating it will not show any pressure points or deformations. Deactivate (pattern only) and hide the 3D view of this pattern. You'll then have a gap with straight borders and the hidden piece will not be exported with your object!<img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/82ef2d9ff83f4a2a953e3dbb5a7a499dtip%20final.png" class="custom-image original-size" data-id="82ef2d9ff83f4a2a953e3dbb5a7a499d" data-width="2138" data-height="1265">If you need to simulate an animation then you'll have to activate it, but it may face some instabilities then. Testing is the key.<h1>by Sarah Prado</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/sandorah">Link to Artstation</a>

Making An Armor In Marvelous Designer: Breaking Boundaries

<h2 style="text-align: center">Concept artist Rui Li shares how 3D tool like Marvelous Designer enhances 2D illustration, shaping the intricate world of his concept art - The Scent. From hyper-realistic fabrics to immersive storytelling, discover how 3D-assisted costume design improves efficiency, detail, and creative flexibility.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/0214c9e458e4433a8cae6fb57638f2fa%E6%9D%8E%E7%9D%BF-%E4%BD%9C%E5%93%81%E5%90%88%E9%9B%86gif.gif" alt="0214c9e458e4433a8cae6fb57638f2fa" class="custom-image original-size" data-id="0214c9e458e4433a8cae6fb57638f2fa" data-width="960" data-height="640"><h1 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/melodyoflost">Rui Li</a> | The Scent | Concept Artist &amp; Illustrator</h1><hr><h1>Please introduce yourself to the Marvelous Designer community.</h1>Hello everyone, my name is Rui. I am a concept artist and illustrator from China. My primary work involves creating concept designs and promotional illustrations for games. I have been in this industry for 15 years and started incorporating 3D software into my workflow about 5-6 years ago to enhance my creative process.<h1>What led you to concept art and character design? Were there any artists or works that inspired you?</h1>After graduating, I went straight into the game industry as a concept artist. I’ve drawn inspiration from many different artists over the years, but there isn’t one particular artist who had a defining influence on me. Since I’ve worked on a variety of projects with different styles, I’ve found new inspirations at every stage of my career. Early on, I was greatly influenced by Craig Mullins while working on realistic projects. Growing up, I played a lot of Japanese games and watched anime and manga, which also left a deep impression on me. Artists like Katsuya Terada, Yoshitaka Amano, and manga creators like Takehiko Inoue and Rumiko Takahashi have all influenced my artistic style. My taste is quite eclectic.<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/5d482a5942694df688af72b5aa16cb78CM%20%E4%BD%9C%E5%93%81%E5%90%88%E9%9B%86gif.gif" alt="5d482a5942694df688af72b5aa16cb78" class="custom-image original-size" data-id="5d482a5942694df688af72b5aa16cb78" data-width="640" data-height="852">Artist: Craig Mullins<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/106aa07a17e94d84a2283f8feab0dbd0%E5%AF%BA%E7%94%B0%E5%85%8B%E4%B9%9F1.jpg" alt="106aa07a17e94d84a2283f8feab0dbd0" class="custom-image original-size" data-id="106aa07a17e94d84a2283f8feab0dbd0" data-width="844" data-height="844">Artist: Katsuya Terada<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/69eb7e606698484d9524936f2981fd8b%E5%A4%A9%E9%87%8E%E5%96%9C%E5%AD%9D1.jpg" alt="69eb7e606698484d9524936f2981fd8b" class="custom-image original-size" data-id="69eb7e606698484d9524936f2981fd8b" data-width="770" data-height="380">Artist: Yoshitaka Amano<h1 style="text-align: left">Your worldbuilding for The Scent is fascinating! What inspired it, and how would you describe its setting and artistic vision?</h1>A few years ago, I became passionate about collecting perfumes and exploring different scents. Last year, I finally had some free time and decided to build a world around the theme of “fragrance.” Over time, as I continued creating, the story naturally evolved and became more refined.<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/118da70db2364902a28ac039b74f76a3final-22%20%281%29.jpg" alt="118da70db2364902a28ac039b74f76a3" class="custom-image original-size" data-id="118da70db2364902a28ac039b74f76a3" data-width="3840" data-height="5760">The story revolves around a perfumer who uses scents to heal emotional wounds. Each character embodies a unique fragrance, representing a particular emotion. Visually, I wanted to create a sense of vintage opulence. The aesthetic is inspired by the late 19th century, a period that blends the elegance of Art Nouveau with the structured forms of Art Deco. Since different fragrances originate from various places, the design incorporates diverse cultural influences, making for a richly layered visual experience.<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/0725a55152a44170bb18cacdbad06a11final.jpg" alt="0725a55152a44170bb18cacdbad06a11" class="custom-image original-size" data-id="0725a55152a44170bb18cacdbad06a11" data-width="3840" data-height="2560"><h1 style="text-align: left">What software and tools do you mainly use in your workflow?</h1>I primarily work with Blender, Daz Studio, Marvelous Designer, and Photoshop.<h1>Your creative process is based on 3D modeling before bringing the work into Photoshop for painting. What led you to adopt this workflow?</h1>&nbsp;I initially adopted this workflow to improve efficiency and image quality. Over time, I’ve realized that 3D-assisted illustration brings several key benefits:<ol><li>Faster workflow – In commercial projects, recurring characters and props can be reused across different scenes, making the process much more efficient.</li><li>Better realism – 3D rendering provides accurate lighting, depth, material reflections, and textures that would be difficult to replicate with pure hand-drawing.</li><li>More flexibility – With 3D, I can adjust camera angles and lighting at any stage. In contrast, 2D workflows tend to be more linear—once the composition, lighting, and colors are set, making big changes later is often impractical.</li></ol><img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/04c0bb2494164f55b72d2b0936b8f1dfimg_v3_02k1_df28d569-496c-4603-8f07-7251f105c8cg.jpg" alt="04c0bb2494164f55b72d2b0936b8f1df" class="custom-image original-size" data-id="04c0bb2494164f55b72d2b0936b8f1df" data-width="3837" data-height="2060"><img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/2ef8a55081fd42bd968205172726b3d1img_v3_02k1_599edcff-2748-4e3d-afec-761d9888479g.jpg" alt="2ef8a55081fd42bd968205172726b3d1" class="custom-image original-size" data-id="2ef8a55081fd42bd968205172726b3d1" data-width="3839" data-height="2062"><h1>When designing character garments in Marvelous Designer, which aspects or features do you focus on the most?</h1>I primarily focus on accurate fabric simulation, which is why I mainly use the 2D pattern-making tools and basic animation features to refine my designs.<h1>Could you share a specific example of how Marvelous Designer played a key role in your creative process?</h1>In The Mastic, about one-quarter of the scene is dedicated to fabric details, which play a crucial role in enhancing the composition. The folds and drapery not only complement the character but also help fill the scene naturally, creating a richer and more immersive atmosphere.Marvelous Designer’s ability to generate realistic fabric textures and movement brings an added level of authenticity to my work. It also softens the stiffness that can sometimes come with 3D-assisted creations. I see it as a visual and compositional mediator, seamlessly blending characters with their surroundings. The way fabric interacts with objects in the scene further enhances the character’s presence, making the world feel more alive.<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/e4670ac912164810af9ab1ca607aef7fRuxiang3.jpg" alt="e4670ac912164810af9ab1ca607aef7f" class="custom-image original-size" data-id="e4670ac912164810af9ab1ca607aef7f" data-width="4500" data-height="6660"><img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/85f534f6839b44728e97cbdde0d20039img_v3_02k1_835cfbe5-e3ad-4760-982d-27b073a2aaeg.jpg" alt="85f534f6839b44728e97cbdde0d20039" class="custom-image original-size" data-id="85f534f6839b44728e97cbdde0d20039" data-width="3839" data-height="2065"><h1>&nbsp;Any practical tips for artists looking to use Marvelous Designer for concept character costume design?</h1>The best advice? Start using it right away. Marvelous Designer’s pattern-based approach helps artists understand how clothing actually fits and moves, which is essential for making designs more believable.That said, don’t rely entirely on raw 3D outputs—while simulations provide a strong foundation, they often need additional refinement. Shapes may lack structural clarity, so post-processing is key to achieving a polished final design.<img src="https://storagefiles.clo-set.com/public/community/202503/dded25398da64f8c8e439e848cba06b9/images/76a524a2ed044fb798d14a7d5acab3b1%E8%95%BE%E5%A7%86.png" alt="76a524a2ed044fb798d14a7d5acab3b1" class="custom-image original-size" data-id="76a524a2ed044fb798d14a7d5acab3b1" data-width="2048" data-height="1365"><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/melodyoflost">Artstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/10178650">Bilibili</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/61ca6e6100000000100065e4?xsec_token=ABvR5H1BwoNPsdmxYAAEhaoLj5ZZMSkmdaDhnxa12hJQc%3D&amp;xsec_source=pc_search">RedNote</a>

Making An Armor In Marvelous Designer: Breaking Boundaries

Marvelous Designer Official

Marvelous Designer Official