<h2 style="text-align: center">✨ Blending tradition and future: Tony Zhou reimagines Guan Yu with cyberpunk aesthetics using Marvelous Designer. A fusion of history and innovation! ✨</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/e957b94cbc124b2aa9fa9fed1324b7d8%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%901.png" class="custom-image original-size" data-id="e957b94cbc124b2aa9fa9fed1324b7d8" data-width="1820" data-height="2048"><h1 style="text-align: center">Interview with Tony Zhou| <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/XJJRoY">Traveller</a> | 3D Artist</h1><hr><h1>Could you please introduce yourself to the Marvelous Designer community members?</h1>Hi, my name is Zhou Deming, a senior game character artist from China with ten years of experience in game development. In my free time, I like to delve into new creative workflows and pursue personal projects. I am currently employed at NetEase Gaming, leading the character development for Destiny Rising.<h1>Tell us about the project. What inspired you? Is there a particular story or setting behind it?</h1>This project draws inspiration from blending traditional Chinese historical characters with contemporary game character design, exploring a creative fusion of the contrasting worlds of the Three Kingdoms period and the cyberpunk aesthetic.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/4ad72152c27643ce8d7ae29f076a2e26%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%902.png" class="custom-image original-size" data-id="4ad72152c27643ce8d7ae29f076a2e26" data-width="1820" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/1a2bd08f779746eba2018dbc198aed3f4.jpg" class="custom-image original-size" data-id="1a2bd08f779746eba2018dbc198aed3f" data-width="2667" data-height="2886"><h1>As a traditional Chinese historical figure, Guan Yu represents classical culture, while cyberpunk embodies a futuristic aesthetic. How did you approach blending these traditional cultural elements with futuristic technology in your creation? How did Marvelous Designer contribute to this integration?</h1>To prepare for this creation, I researched a wide range of literary works about Guan Yu, as well as his depictions in modern films, TV shows, and games. I also studied many cyberpunk-style art pieces. From these sources, I distilled elements such as costume structures and color schemes to craft the preliminary design.Marvelous Designer played a crucial role in experimenting with various clothing styles during the early design phase. Unlike revising 2D drafts, using a 3D platform allowed for real-time adjustments and a more intuitive visualization of designs, greatly enhancing efficiency and facilitating early-stage adjustments.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/d00ca31ac20348dc906070c39b84db4d1.jpg" class="custom-image original-size" data-id="d00ca31ac20348dc906070c39b84db4d" data-width="2500" data-height="1419"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/3a21eb134b9948f9bf0f0effb7dc5846%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%90%E6%A8%AA%E7%89%88.png" class="custom-image original-size" data-id="3a21eb134b9948f9bf0f0effb7dc5846" data-width="2048" data-height="1152"><h1>The metallic finish and aerodynamic design of the character’s coat are remarkable! What techniques did you use to achieve this fabric effect?</h1>While refining the design drafts, a preliminary plan for the colors and materials of the garments had already been established. The proportions of fabrics, leather, technological materials, and hard surfaces were continuously adjusted and polished during the subsequent modeling process to achieve a more harmonious visual effect. The segmentation of lines was evaluated by switching between A-pose and T-pose to observe whether the desired outcome was achieved. The texture of the fabrics was created using Substance Painter.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b773c858cdf245118f008c879a3d24286.jpg" class="custom-image original-size" data-id="b773c858cdf245118f008c879a3d2428" data-width="4500" data-height="1957"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b95d4868fdf7485f8e2edd52180201a810.jpg" class="custom-image original-size" data-id="b95d4868fdf7485f8e2edd52180201a8" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b1f865ea53244734a234fa579f7561c2%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%903.png" class="custom-image original-size" data-id="b1f865ea53244734a234fa579f7561c2" data-width="1820" data-height="2048"><h1>Can you give us a quick overview of the different tools used in your pipeline?</h1>In the early stages of the project workflow, ZBrush and Marvelous Designer were primarily used for the modeling phase, iteratively refining the character during the high-poly stage. Maya and Marmoset were then employed to complete the low-poly modeling and baking process. Finally, textures were created in Substance Painter, and the final rendering was completed in Marmoset.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/6a19541bb6514daf8b13c09aeff528549.jpg" class="custom-image original-size" data-id="6a19541bb6514daf8b13c09aeff52854" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/49d0969076cc460097c42dcedca4568612.png" class="custom-image original-size" data-id="49d0969076cc460097c42dcedca45686" data-width="3840" data-height="2160"><h1>What challenges did you face during the creation process, and how did you overcome them?</h1>The biggest challenges during the entire creative process were related to the overall design, such as character styling, similarities between designs, and making sure the characters felt cohesive. Revisions to the characters were ongoing throughout the process. For example, I kept going back and forth on whether the jacket should be a long coat or a short one, and how much hard surface detailing to include. If something didn’t look right, I’d just scrap it and start over. Even during the final texturing stage, I noticed the jacket’s structure felt a bit lacking, so I went back to the modeling phase to strengthen it. It was a constant cycle of questioning and refining until I reached a result I was truly happy with.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/91095a95b937457fbf49c3768d32760911.jpg" class="custom-image original-size" data-id="91095a95b937457fbf49c3768d327609" data-width="3840" data-height="2160"><h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1>Some Tips and Tricks I Used During Production When it comes to getting better fabric effects, it’s not just about having the right patterns or fabric settings. Fixed pins can be super helpful for simulations! By placing them in specific spots and tweaking their positions, you can often get some surprising and creative results. On top of that, playing with the folding angles of internal lines can create different folds, adding a lot of texture and depth to the fabric details.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/1786e6e508cc4bb1b8685db5e533f687%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E8%A1%A5%E5%85%85%E5%9B%BE2.jpg" class="custom-image original-size" data-id="1786e6e508cc4bb1b8685db5e533f687" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/4c89ae1829e445f99877b150c3d2ed3b%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E8%A1%A5%E5%85%85%E5%9B%BE.jpg" class="custom-image original-size" data-id="4c89ae1829e445f99877b150c3d2ed3b" data-width="2276" data-height="1280"><h1>How would you describe your overall experience using Marvelous Designer?</h1>Marvelous Designer’s UI is getting more intuitive and user-friendly, making it easy for both seasoned users and newcomers to pick up the basics quickly. The latest updates bring a big boost to GPU simulation accuracy, and the simulation speed is noticeably faster now. Trim simulations with collision are also much more precise, which makes things a lot more convenient for character artists.<h1></h1><h1>by Tony Zhou</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ironman">Artstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5b20a79a6b58b77865652b93?channelType=web_engagement_notification_page&amp;channelTabId=connections&amp;xsec_token=ABdDteyn-afbgKbKVrUPA8IvVQqiWp5BE0rJzUhZ3SmI0%3D&amp;xsec_source=pc_notice">Redbook (Xiaohongshu)</a>

Traveller - Cyberpunk Guan Yu

FV2 Catwalk No Bag 02

cashmeangift1

<img src="https://storagefiles.clo-set.com/public/community/202606/0426208b538549909d801a059154c1be/images/89615f1e1a004d3a88b777b9e9f10da3PORTADA_cabecera%20copia.png" class="custom-image hidden-thumbnail" data-id="89615f1e1a004d3a88b777b9e9f10da3" data-width="1496" data-height="1125">Hola comunidad CLO,Me llamo Cecilia Renau y llevo meses viviendo dentro de CLO3D. Lo que empezó como el software de mi Máster en Moda Digital y Avatares se ha convertido en el idioma con el que pienso el diseño.Este es el primer post de una serie en la que voy a compartir el proceso completo de mi TFM: GS70, una colección de moda digital inspirada en el béisbol femenino y en los años 70. Seis looks, 2 avatares personalizados en DAZ Studio, entornos en Blender, tejidos desarrollados en Substance Sampler y, en el centro de todo, CLO3D como herramienta principal de construcción de prendas.<img src="https://storagefiles.clo-set.com/public/community/202606/0426208b538549909d801a059154c1be/images/642859b808be4cd6bb7dc54640c78befPORTADA_cabecera.png" alt="642859b808be4cd6bb7dc54640c78bef" class="custom-image original-size" data-id="642859b808be4cd6bb7dc54640c78bef" data-width="1701" data-height="1026">Pero no voy a hablar solo del resultado. Quiero contaros el proceso real: los errores, los workarounds, lo que descubrí por accidente y lo que tardé semanas en entender.Porque creo que la comunidad hispanohablante de CLO necesita más voz. Más gente compartiendo flujos de trabajo en castellano, más referentes, más conversación técnica.Bienvenidos a GS70. Esto es solo el principio.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Ev-E2Q_dEp8?si=7ZfTBIt6-zTuvH81" 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>TIP CLO del post: Empieza con el avatar correctoAntes de hacer el patrón, define el avatar. En GS70 usé avatares de DAZ Studio exportados a FBX e importados en CLO.Asegúrate de que el avatar está en T-pose o A-pose antes de la importación (yo lo hago con "Autoconvertir en Avatar") y no olvides revisar el cabello, para que CLO pueda importarlo debes activar la teselación (yo suelo usar un valor de 2). ¡Ah! Si dentro de CLO no ves las cejas selecciona todo el avatar y pon la opacidad al máximo. Al aumentar la opacidad seguramente los ojos serán completamente blancos, no te preocupes, selecciona las zonas blancas y baja la opacidad.Exporta todos los mapas del Avatar, no sólo los que DAZ empaqueta, tendrás que buscarlos y hacerlo a mano pero valdrá la pena.<hr><h1 style="text-align: center">¿Tienes alguna duda?</h1>¡Gracias por tu tiempo!

GS70: mi TFM en CLO3D — y por qué el 3D cambió cómo entiendo el diseño

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/88b575e1f6aa44d48979f46732490525/images/63c70e89d3ba4b8d8d83a731f4448d0cHeader_thumb%20%288%29.png" class="custom-image hidden-thumbnail" data-id="63c70e89d3ba4b8d8d83a731f4448d0c" data-width="1240" data-height="652">Nina opens up our eyes with beautiful historical and fantasy outfits. Check out her invaluable tips to express fine details.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/9a1618f222b8420290ccaa24c8cacb814b86f8386a004bed9d3d0b4b156ecab0.jpg" class="custom-image original-size" data-id="9a1618f222b8420290ccaa24c8cacb81" data-width="2272" data-height="3820"><h1 style="text-align: center">Interview with Nina Chernyshenko</h1><hr><h1>1. Artist Introduction</h1>Hello, my name is Nina. I'm from Ukraine, and I'm a freelance digital artist focusing on creating digital clothing. I especially like to make historical clothes and clothes from movies. And I have a digital clothing store on ArtStation.<h1>2. When did you start to learn Marvelous Designer, and what motivated you to start in the first place?</h1>I started out with 2D and most of all I liked to draw characters. But then I thought that it would be interesting to see my characters from all angles, and I decided to start mastering 3D programs. I've watched a lot of YouTube channels about 3D. And one day I came across a tutorial about clothes creation in Marvelous Designer (sometime in 2018). And it turned out to be my dream program. I've always enjoyed drawing and sewing clothes. And I realized that I want to grow in this direction with Marvelous Designer's help.<h1>3. How do you start with your design in Marvelous Designer?</h1>Before I start creating clothes in Marvelous Designer, I pick up a lot of references and save them in PureRef. I find references on Pinterest, Instagram, or just Google. <a target="_blank" rel="noopener noreferrer nofollow" href="https://discord.com/invite/HAh568h">In the Marvelous Designer Discord channel (LINK)</a> also has a pattern-reference section with links to sites where you can find interesting patterns. If I want to make a garment with a complicated design, I try to find a pattern-reference. If I make a historical costume, I also look for patterns to make the clothes as authentic as possible. And if I find a pattern, I import it into the 2D window and trace it with the Polygon tool. But even with this method, you have to adapt the patterns to your avatar. Especially for historical clothes, since historical clothes are based on people of that time and their body parameters differ from standard Marvelous Designer or DAZ Studio avatars. You can use Modular Configurator patterns to create modern clothes.&nbsp;<h1>4. We'd like to see your favorite artworks. Please introduce them to us!</h1><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/7cfde363fdd54b7eb927437b4bd340f54b86f8386a004bed9d3d0b4b156ecab0.jpg" class="custom-image original-size" data-id="7cfde363fdd54b7eb927437b4bd340f5" data-width="2272" data-height="3820">My favorites are, of course, historical clothing and fantasy outfits. It's my passion. There are many interesting challenges in creating historic dresses. For example, how to give the right shape to the skirt.This can be done in the following ways:[Skirt Part]1. Model the frame in any 3D program (Blender, Zbrush) and then import it into Marvelous Designer as an avatar.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/899c8087687343ea9031bc3823294e06aa768725bb9f4bc28e411bd646aaef3e.jpg" class="custom-image original-size" data-id="899c8087687343ea9031bc3823294e06" data-width="742" data-height="945">2. Create a frame in Marvelous Designer from stiff fabric (Trim_Full_Grain_Leather) and after giving the desired shape and volume freeze the fabric.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/0ef660f4e72d4bc9b7869c729907cf508fc28e11e3a74177a9f659f11ef02b5a.jpg" class="custom-image original-size" data-id="0ef660f4e72d4bc9b7869c729907cf50" data-width="1492" data-height="939">3. Use several ruffled underskirts. Also, an integral part of historical costumes is the corset.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/76b58d6e7bc04f3faefb605b8f441750bbe648dd3f784e84a05ba9f2f5f2d443.jpg" class="custom-image original-size" data-id="76b58d6e7bc04f3faefb605b8f441750" data-width="1491" data-height="948">[Corset Part]1. I create a base of stiff fabric (Trim_Full_Grain_Leather). And then, using the function Layer Clone (Over), I create another layer and assign soft material to it (Knit_Cotton_Rayon Jersey or Nylon_Featherweight) and set Particle Distance 5.2.&nbsp; To add more realism, for the top layer, increase the Shrinkage Weft and Warp parameters. The simulation will show more folds. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/a/4328688">You can download the corset file for free here (LINK).</a><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/b8f34688500040cba64cfcc7655530df99cb3680ac4c4f87b6a6fe4eb50f95c4.jpg" class="custom-image original-size" data-id="b8f34688500040cba64cfcc7655530df" data-width="1845" data-height="953">[Accessory Part]Also, in my projects I often add various accessories made in Blender. These are gems that I import as trims or register as buttons, buckles, knives, swords, sabers.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/0a934938b7cc441eb9d74d0070e605e4253572b188af480b937c4ccea97e5cd5.jpg" class="custom-image original-size" data-id="0a934938b7cc441eb9d74d0070e605e4" data-width="747" data-height="954"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/dc778ec0d38b48278e2fe296154a4ab471459693a6d24c29b6d525ee93670b5c.jpg" class="custom-image original-size" data-id="dc778ec0d38b48278e2fe296154a4ab4" data-width="2066" data-height="875"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/d801972929f74b73a2e288913bfb4b0e7b6156f9424d487fb8d2c03260c1f940.jpg" class="custom-image original-size" data-id="d801972929f74b73a2e288913bfb4b0e" data-width="2263" data-height="776">When you import objects into Marvelous Designer as Trims, these objects will move with the fabric when simulating the garment. If you import them as Avatar, they will have to be moved manually. Also pay attention to the properties of these objects in the Property Editor, such as Skin Offset, Static and Kinetic Friction, Weight and Collision. I make hats, bags and shoes in Marvelous Designer. For this purpose, I mostly use the Trim_Full_Grain_Leather and Leather_Lambskin presets. To create the curves of the shape help internal lines (indicating a certain bending angle)&nbsp; and Tack. And it's also important to select the necessary angle of stitching patterns.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/27e492c92b0d4f83a553bb5036b95e9bdc5fb3b7ac6e483a88880dc7b1998fb3.jpg" class="custom-image original-size" data-id="27e492c92b0d4f83a553bb5036b95e9b" data-width="1849" data-height="1895"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/c103a7a019764097aa64703e3652483267f65f2fff354ccfaf61ea42b2e41d2b.jpg" class="custom-image original-size" data-id="c103a7a019764097aa64703e36524832" data-width="745" data-height="924"><h1>5. Can you tell us your process for one of the artworks, including how you used Marvelous Designer and other tools?</h1>I use standard free avatars from DAZ Studio (Daz_Genesis 8 female, male). I export the avatar in A-pose in COLLADA format (.dae). In Marvelous Designer there are several avatar settings. If you want your clothes to fit more closely to the avatar, set Skin Offset 1 or 0. If you want your clothes not to slide on the avatar, increase the Static and Kinetic Friction settings. I also usually smooth out the avatar.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/f6034e8280434c72a490363a30542d5bbec0e881eff84f35b5dbd7601e2c6809.jpg" class="custom-image original-size" data-id="f6034e8280434c72a490363a30542d5b" data-width="977" data-height="945">I build basic patterns. I don't use the measurements on the avatar when I build it, I build it by eye. And then I adjust it to the avatar. First, I make the base of the corset and the skirt. I use a tack on the avatar in the center of the corset, so the corset would fit better to the avatar. Dividing the bodice into four parts helps to fit the bodice to the shape of the breasts.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/033e1e590d134ac5b76312eab17ec78d576914d955c14d58961bd7f5953429f8.jpg" class="custom-image original-size" data-id="033e1e590d134ac5b76312eab17ec78d" data-width="1487" data-height="948">I select the lines where the sleeve is sewn (armhole) and set Elastic Ratio=100 for strength.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/b56c19eb58514166afe160569b7e068f9f02d6fd6494413698f053a1392b808a.jpg" class="custom-image original-size" data-id="b56c19eb58514166afe160569b7e068f" data-width="1838" data-height="951">With the help of Layer Clone Over I duplicate the shoulder pad. With the help of inner lines, I form the ribs.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/463031cd41484502ae2f5ce5e1897f20119e2e0e14f44f71a9a5cbdb4bbcb08a.jpg" class="custom-image original-size" data-id="463031cd41484502ae2f5ce5e1897f20" data-width="1855" data-height="964">When the dress is ready I set Particle Distance 5 for all parts of the dress, and 3 for the smaller parts (buttonholes and pattern).I pose the avatar in DAZ Studio and export it in COLLADA format (.dae). I import it into Marvelous Designer.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/bc603ca41c3c436499376cc14009fa1af4ab7eb664394686ba56600a9d896eee.jpg" class="custom-image original-size" data-id="bc603ca41c3c436499376cc14009fa1a" data-width="871" data-height="614">I save it as A pose.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/a7af3556e9c642babc3b27d0115057ce916f4bb492ff49e39eee54a7de234ab6.jpg" class="custom-image medium-size" data-id="a7af3556e9c642babc3b27d0115057ce" data-width="430" data-height="964">Then I delete the imported avatar. You can set Particle Distance 15 for all patterns, for faster simulation. Then I open the saved pose.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/a/12693295.">You can download the fantasy dress file here (LINK).</a><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/f1df679283af4d11a683fe5a8b67d71d7146cf663035444fab598ce73ae12ccc.jpg" class="custom-image original-size" data-id="f1df679283af4d11a683fe5a8b67d71d" data-width="819" data-height="217"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/abbb4c92027e4393b6fa06e1af65933c86ee4fc1aaba4198a425b59105a9484f.jpg" class="custom-image original-size" data-id="abbb4c92027e4393b6fa06e1af65933c" data-width="1516" data-height="943"><h1>6. For the Marvelous Designer NEW learners, can you give any tips or advice?</h1>The Marvelous Designer program is not difficult to master. All the necessary information about interface and functionality is on the Marvelous Designer's <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/user/marvelousdesigner3">YouTube </a>channel. With each new tutorial you watch, it will become easier and easier for you to use the program. Marvelous Designer is an indispensable assistant in creating realistic clothes for your characters and in interior design.<hr>By Nina ChernyshenkoLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/nini_chernyshenko/">Instagram</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/sninoka">ArtStation</a>

Nina Chernyshenko

Collection A

아카데믹 챌린지

Traditional Costumes 3D Restoration

Championship Thread

Create Your Persona: 3D Character & Digital Fashion

Cut, Slash & Corset

Freelancer

Designer

<h2 style="text-align: center">FAITH &amp; HONOUR: BARBAROSSA, a historically authentic Adventure RPG set, complete characters' outfits with Marvelous Designer. Check out the whole pipeline they adopted.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/4b6d48779de34e47890dabb93a928397%EC%8A%A4%ED%81%AC%EB%A6%B0%EC%83%B7%202025-01-14%20113851.png" class="custom-image original-size" data-id="4b6d48779de34e47890dabb93a928397" data-width="2374" data-height="1332"><h1 style="text-align: center">Interview with Encurio GmbH</h1><hr><h1>1. Could you introduce your team and recent project -&nbsp;FAITH &amp; HONOUR:&nbsp;BARBAROSSA?</h1>Encurio GmbH was founded in 1995 as a marketing company and begun developing video games in 2013. Our studio is located in Cologne, Germany. Our first game, Valnir Rok, was released in 2017.Currently we are working on our new Game called&nbsp;FAITH &amp; HONOUR:&nbsp;BARBAROSSA. It's a historically authentic Adventure RPG set in the 12th century, during the crusade of Frederick I. Barbarossa.You play as Ulrich, the son of Mathis Reinhardt who was one of Barbarossa’s closest friends until he fell from grace after betraying the emperor. But you know that your father wasn’t a traitor to the Holy Roman Empire and through joining Barbarossa’s crusade you try to find out what really happened while your father was in the emperor’s service.<h1>2. How is Marvelous Designer integrated into your pipeline?</h1>Since our current project is very ambitious, and we need to make many historically authentic garments, Marvelous Designer has been and is essential to our character art pipeline.I got an internship as a character artist at Encurio in 2018. Since then, I have been struggling with the internal work pipeline. I took CGMA's "Cloth Simulation for Games" course with Laura Gallagher in mid 2020 to have a decent foundation with Marvelous Designer and also a better understanding of my craft.&nbsp;Laura has now built her own learning platform to teach Character Artists the necessary knowledge. For anyone who wants to learn Marvelous Designer for working in the game industry, I can only recommend <a target="_blank" rel="noopener noreferrer nofollow" href="https://outgang.studio">https://outgang.studio</a>. Our Character Pipeline is very similar to Laura's recommended CharacterArt Pipeline. The idea behind Laura Gallaghers workflow is to use a virtual reconstruction technique, that is used in the real life fashion industry.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/d1453d683b70443ba2a5529b691617af4d57acc1075a445b8b662c2b9c3bbd65.png" class="custom-image original-size" data-id="d1453d683b70443ba2a5529b691617af" data-width="1956" data-height="1232">You start in ZBrush and sketch the garment with Dynamesh, so it perfectly fits the body like in your references. Afterwards, you split the garment in multiple polygroups, where you would have seams. Then you ZRemesh the garment and can export the mesh for the next step.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/f844b9afcaea487e8e9f37eee1737d73f9c66f8cd2234a4eaca9e62dd4958e0c.png" class="custom-image original-size" data-id="f844b9afcaea487e8e9f37eee1737d73" data-width="1962" data-height="882">After import, you just UV the mesh inside maya to get a 2D layout, which will later be our pattern. This mesh can now be exported once again and is ready to be imported into marvelous as our new garment.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/72df437d38bb47798fba1e502308776f96fb0b745cc44e9999b705e27fec1995.png" class="custom-image original-size" data-id="72df437d38bb47798fba1e502308776f" data-width="3240" data-height="2056">We can import our mesh from obj to a garment and enable "Trace 2D Patterns from UV Map". This will create the patterns from our UVs. This is the stage, where we need to iterate a lot to have a "perfect" fit for our garment. We adjust the Sketch in ZBrush, adjust the UVs ... export, import "OBJ to Garment" .... and repeat. It`s much easier to fix fitting issues on the Sketch than in Marvelous.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/75652d70c85e4cb7899e38955ada77cf506e1952b1c2472586ea65cda56132b1.png" class="custom-image original-size" data-id="75652d70c85e4cb7899e38955ada77cf" data-width="3137" data-height="1788">When the garment is fitting, we can continue to work on the details. We crank up the particle distance, add borders and trims and work on the material/folds properties. After the final simulation, we merge some panels, where we don't want to have space inbetween and change the mesh type from Triangle to Quadrangulated for the final export.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/1b807f0c7b95481fa4cdc7ec3b9693cb1fae154b2e6044c59889a7f811a26e1a.png" class="custom-image original-size" data-id="1b807f0c7b95481fa4cdc7ec3b9693cb" data-width="3812" data-height="2060">Back in ZBrush we load our Garment into our "Modular Character Template" file to check and see, if the garment fits into our modular character system. Here we adjust the shape and add accessories and details. Afterwards we continue with the usual well known retopo process. I like to export the mesh as alembic (.abc) without decimating and import the mesh as alembic in Maya as GPU Cache. Saving tons of time and issues I had in the past with the decimating process. Viewport stays blazing fast, even with millions of polygons inside maya. <img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/430bd5e0dc6d408981ef5d357efbcb3cde28fdbc5161412293576dad029f6e79.png" class="custom-image original-size" data-id="430bd5e0dc6d408981ef5d357efbcb3c" data-width="2517" data-height="1237">We are texturing the garments with a "Material Based Approach" just like in Paragon. Texturing with Substance, Baking with Marmoset Toolbag (<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=nVes6OUyzdw">https://www.youtube.com/watch?v=nVes6OUyzdw</a>). This allows us to reuse a lot of assets and have a lot of customization option.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/1694588cfd8b4c35a6c1814800815bb2d0872e4adac945d0bf249b37dd285e6a.png" class="custom-image original-size" data-id="1694588cfd8b4c35a6c1814800815bb2" data-width="2512" data-height="1638"><h1>3. What is Marvelous Designer’s strong point to use?</h1>A way better structured and intuitive workflow, which results in high-quality assets/clothes. Another obvious point is the realistic folds and the very good reusability of garments across projects. Just pushing and pulling the garment during the simulation creates a completely different model from the same patterns. Personally I wouldn't want to work with any other tool than Marvelous Designer.<hr>by&nbsp;ENCURIOLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.encurio.com/">ENCURIO&nbsp;official website</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.faith-and-honour.com/">FAITH &amp; HONOUR: BARBAROSSA official website</a>Link to&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/faithandhonour/">Facebook</a>Link to&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/faithandhonour/">Instagram</a>

FAITH & HONOUR: BARBAROSSA

After flattening the pieces smaller than avatar measurehow to make it correctly? I tried to reduce the fabric thickness, but it's not influence to the 2D pattern measurements. I tried to reduce the collision, same result. Please see the picture attached. I have the latest version.<img src="https://storagefiles.clo-set.com/public/community/202512/7e60595fc23c4e389ff5ec3066ca2a4a/images/86f83a5051bc4c9fb42e71b53062ff1dFlattening%20clo_Help.png" alt="86f83a5051bc4c9fb42e71b53062ff1d" class="custom-image original-size" data-id="86f83a5051bc4c9fb42e71b53062ff1d" data-width="1917" data-height="1013">

Flatten pieces smaller than the avatar measure

test

<img src="https://storagefiles.clo-set.com/public/community/202603/fa4fb0d0e787465eb87324f71ad15d6e/images/10053dbfe8484b92ab53a56940c666b4hazzys%20snap.png" class="custom-image hidden-thumbnail" data-id="10053dbfe8484b92ab53a56940c666b4" data-width="1080" data-height="1920">Hello everyone!We are here to share the "next chapter" of the <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/ko/contest/hazzys">3D Design Contest(HAZZYS FOOTBALL CLUB)</a> that many of you have been waiting for.There were so many incredible submissions! What made this contest truly special was that the 1st and 2nd place winning designs were actually brought to life as physical garments, made possible by the expert craftsmanship and technical support of <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hazzys.com/display.do?cmd=getHomeMain">HAZZYS</a>.The brand even extended a special invitation for us to visit the exhibition. Seeing the winning pieces standing proudly in the spotlight was a truly moving experience for us. It was the moment where digital designs from the screen finally revealed their tangible presence.✨We have captured the vibrant energy of the event in this short video!🎬 <div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/JLyshq-Pro8?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><h2 style="text-align: center">&nbsp;"From ZPRJ file to actual garment..." Isn't it amazing to see the transformation process stitch by stitch?🧵</h2>Facing the physical garments in person was a surreal experience for our team. To learn more about the journey, we had a brief interview with the HAZZYS Marketing Manager who co-planned this project.<hr>💬 Interview with the HAZZYS Marketing ManagerQ1. What was the core motivation behind organizing this 3D design contest? HAZZYS launched its first design contest for university students in 2023, aiming to empower the next generation and foster a new arena for creative experience. In 2025, we have evolved this initiative further with our second contest. Our partnership with CLO—a 3D tool that HAZZYS actively integrates into our actual design workflow—was a natural synergy, aligning our digital-first creative approach with the brand's core direction. Furthermore, with a robust global presence of 883 stores across Korea, China, Taiwan, Vietnam, Russia, and India, HAZZYS continues to expand its brand value worldwide. This contest was particularly meaningful as it established a strategic touchpoint where global customers and creators could engage and communicate together. Q2. Were there any aspects that felt even more appealing in the physical version compared to the 3D model? Seeing the actual physical pieces brought out the material's charm even more clearly. The first-place winner especially delivered a knit texture finer than anticipated, resulting in a highly collectible item. The second-place entry impressively amplified its sporty vibe by incorporating the texture of the actual fabric.Q3. How would you describe this "Realization Project" in one word? In a word, it was [The Tomorrow of HAZZYS]. It was a great opportunity to explore new possibilities for our brand through the ideas of the next generation. By going beyond a simple contest and actually making the clothes, we wanted to truly support their next steps as designers. This project was a meaningful experience for both HAZZYS and the participants.<hr> This interview truly highlighted HAZZYS's commitment—not just to making beautiful clothes, but to investing in the potential of future designers and considering the environment through digital innovation.We hope this journey, from a digital imagination to a physical garment on display, serves as an inspiration to all future designers. What do you think about the "Tomorrow" HAZZYS is building, where imagination becomes reality?We will continue to share more exciting journeys where technology meets fashion.Thank you!🙏❣️

Traveller - Cyberpunk Guan Yu

Marvelous Designer Official

Marvelous Designer Official