<h2 style="text-align: center">Geumbi, a Korean character modeler, honored her grandmother through the heartfelt project My Grandma. She also shares tips on crafting stunning scarves with Marvelous Designer.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/58c6470b58484b3da8df005678a2765e78edb5aaf247498daf80aa50b10d9147.jpg" class="custom-image original-size" data-id="58c6470b58484b3da8df005678a2765e" data-width="4096" data-height="4096"><h1>We'd like to get to know you better, can you tell us a little about yourself and how you got started in 3D?</h1>Hello. I'm Geumbi Seo, a junior character modeler from South Korea.I started studying 3D because I found it fascinating to create things that I love and keep for a long time.<h1>Can you tell us more about your latest project, "My Grandma"?</h1>I became interested in creating realistic characters while taking classes at an academy, and naturally, I thought of my family first, especially my beloved grandma and grandpa. It always broke my heart to see their time go by faster than ours, and as I got older, it always made me sad to imagine a future without them.So I started a project called “My Grandma” to use the 3D skills I've learned to preserve them in their healthiest and most beautiful state.As I worked on it, I wanted the others to feel her love through my project. I hope it will inspire each of us to pick up the phone and call or reminisce about our grandmothers.<h1>We love the knot on your scarf using Marvelous Designer. Do you have any advice or tips for people who find it difficult to create ribbons or knots in Marvelous Designer?</h1>I realized while working on this project that it's not easy to make ribbons or knots.But I didn't want to change the shape of the scarf just because of its difficulty, so I just kept trying multiple times, and eventually, I got the shape I wanted.<img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/20ceb081d71f4b2f907b907453417298181b037970f34064a3ff68c9ec74b270.png" class="custom-image original-size" data-id="20ceb081d71f4b2f907b907453417298" data-width="2559" data-height="1399"><img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/5cd762fad9f345eda6f71377349885809e1a026934ed47af9ef819b83ac2f9c0.png" class="custom-image original-size" data-id="5cd762fad9f345eda6f7137734988580" data-width="2560" data-height="1399">One tip is to use pins and tacks, and I pinned and moved the process slowly, just like tying a scarf, to get the desired shape, if you don't pin or tack it in between, it will unravel, so it's better to pin the finished part until you get the desired shape.Also, it's good to start with a high particle distance instead of a low particle distance to get the shape, and then lower the particle distance to get the desired crease.<img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/ff8ea01e2f5e40d2b33c1010982b0006video_240325-ezgif.com-video-to-webp-converter.webp" class="custom-image original-size" data-id="ff8ea01e2f5e40d2b33c1010982b0006" data-width="800" data-height="439"><h1>Can you provide a brief overview of the different tools used in the pipeline?</h1>To work on the face, I used ZBrush and Maya 2022.I started by creating the basic shape in Zbrush, then converted it to MetaHuman UVs and detailed it in Zbrush again. For the skin detailing, I used a basic standard to lay the groundwork, and from there I created the skin detailing by flowing and shaping the wrinkles to match the reference as closely as possible.The cardigan and scarf were created using Marvelous Designer, with any additional wrinkles or shaping done in Zbrush. The hair and cardigan fur were done in Maya XGen, and the textures were done using Substance Painter.The final render was done in Maya Arnold, UE5 in two places.<h1>As you worked on the project, I'm sure there were some favorite and some challenging parts. What was the most enjoyable part for you during the process?</h1>In my case, the facial details were the most fun and enjoyable part.I studied the references very carefully to make sure that nothing was awkward or too noticeable when considering the overall picture, and it was fun to see how the face gradually became wrinkled and natural.I also had great mentors who taught me and gave me a lot of feedback on the likenesses, so it was a valuable process to communicate with them.<img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/33312ebdb0a64d49990456d06adc1cc9c5f90802a9b4432e84192d41fd316b58.jpg" class="custom-image original-size" data-id="33312ebdb0a64d49990456d06adc1cc9" data-width="4096" data-height="2301"><img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/a847ed3ab0e94f489f1d096b8a1e6b46b0364a01b8964812ae006c73b0ee7d97.jpg" class="custom-image original-size" data-id="a847ed3ab0e94f489f1d096b8a1e6b46" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202412/98c1935f44b34bd6ad77794b29410ab5/images/3d697fa6e063404d8624ce2046a4a5578d7878df478548cdaea7fcf1461e932c.jpg" class="custom-image original-size" data-id="3d697fa6e063404d8624ce2046a4a557" data-width="3840" data-height="2160">It was the first time I'd ever spent so much time studying someone's face, and I remember thinking, 'This is what my grandmother's nose looks like.It's so similar to my nose," or "You have a dimple here, that's where my dad and sister's dimples come from," and I had a lot of fun making it.<h1>If so, what was the biggest challenge you faced when working on the project?</h1>Working on this project was my first time using Unreal Engine.There were a lot of things I didn't know, and it took me a little longer to figure out how to work around it, but it was a great way to get me interested in the changes in 3D work, and I feel like I've learned a lot from it.<h1>Finally, do you have any advice for people getting started in 3D art? Career advice, mindset when creating artwork, or anything else.</h1>I studied 3D art late in life while doing other things, and I started studying at an academy. I've come to realize that the key to my progress lies in finding the right school, connecting with inspiring mentors, and surrounding myself with supportive friends.And I think it's also important to have a study group with friends to share what you know and learn.It can be tiring because the process is long, but if you don't give up, you will be rewarded with great results. And even if you don't get good results right away, with each subsequent artwork, you will witness noticeable growth, eventually leading to satisfying results. The teachers who taught me always said that, so I was able to achieve satisfying results. <h1> by&nbsp;Geumbi Seo <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/geumbi">Artstation</a></h1>

My Grandma

FV2.1_Luna_Teenager

ipkdkf

Hi Clo Team,I am not happy with the latest update at all.After encountering several serious issues, you advised me to reinstall the software. Following your instructions, I spent two hours backing up seven months' worth of work, uninstalling, and reinstalling the program. Unfortunately, I am now experiencing additional significant problems that make it extremely difficult to work:1) Missing fabric weight information I can no longer see the fabric weight — neither in your library nor in my personal library, which I backed up and re-imported. Fabric weight is crucial for my workflow. (See attached screenshot.)2) Unsupported trim formats in the library Your trim and hardware library contains Pullers in ZPU format and Sliders in ZSL format, both of which are no longer supported by this version. (See attached screenshot.) As for the TRM format, which is supported, I cannot find it in your library unless I am missing something. In order to access trims in the correct format, I am forced to open old projects, save, and import individual trims manually. May I ask: what is the point of offering a library containing assets in unsupported formats?3) Library appearance issues The new library shows CLO default assets along with my imported assets. However, when I revert to the previous library layout (which I prefer), the library is completely empty — no CLO default assets, no imported assets. (See attached screenshots.)4) Missing hairstylesThe variety of hairstyles from the previous version is missing. Available only Afro, Afro, Bob, Lowbun, Highbun. Where are the usual ones? - see attached screenshot.Please advise how these issues can be resolved. They are causing considerable inconvenience, and at this point, it is difficult to see how the subscription cost is justified.Thank you, Anna<img src="https://storagefiles.clo-set.com/public/community/202504/ca4dd79cc2834967acbbb146f362901e/images/ace5932490304d999ec09075a43d75beScreenshot%20for%20Clo-set.png" alt="ace5932490304d999ec09075a43d75be" class="custom-image original-size" data-id="ace5932490304d999ec09075a43d75be" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202504/ca4dd79cc2834967acbbb146f362901e/images/6a20140884b44361b6f2ec3eb9d27bbcScreenshot%20for%20Clo-set%20%283%29.png" alt="6a20140884b44361b6f2ec3eb9d27bbc" class="custom-image original-size" data-id="6a20140884b44361b6f2ec3eb9d27bbc" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202504/ca4dd79cc2834967acbbb146f362901e/images/bcfb5c0ad03d4ce3a4612f8e7b304a8eScreenshot%20for%20Clo-set%20%284%29.png" alt="bcfb5c0ad03d4ce3a4612f8e7b304a8e" class="custom-image original-size" data-id="bcfb5c0ad03d4ce3a4612f8e7b304a8e" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202504/ca4dd79cc2834967acbbb146f362901e/images/9498b0c965a045f18fadf50c2f9a0bd9Screenshot%20for%20Clo-set%20%286%29.png" alt="9498b0c965a045f18fadf50c2f9a0bd9" class="custom-image original-size" data-id="9498b0c965a045f18fadf50c2f9a0bd9" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202504/ca4dd79cc2834967acbbb146f362901e/images/37773590818345bcb4c66abbd08a4badScreenshot%20for%20Clo-set.png" alt="37773590818345bcb4c66abbd08a4bad" class="custom-image original-size" data-id="37773590818345bcb4c66abbd08a4bad" data-width="3840" data-height="2160">

Serious Problems After Latest Update and Reinstallation

⚠️ ご購入前に必ずお読みください✅ このアバターはPC専用です (Quest非対応)✅ 別のシェーダーに変更した場合、結果が異なる場合があります。 ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 🎨 紹介[Lucy]はVRChat専用に制作されたCONNECT Studioのオリジナル3Dアバターです。アバターと衣装の両方が含まれています。完全にセットアップされたPrefabとして提供されるため、Unityで簡単なビルドを行うだけでVRChatですぐに使用できます。✅ Avatars 3.0対応✅ PhysBoneサポート (耳/尾)✅ LipSync対応✅ VRChat/Mobile/Toon Standard Shaderを使用✅ 6種類の基本表情 + MMDブレンドシェイプ付属✅ Quest専用✅ VRChat SDK Control PanelをAndroidに変更して使用✅ VRChat以外のプラットフォームには対応していません。 ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 📊 モデル仕様ポリゴン数:- アバター：△19,494- 衣装（髪・しっぽ・耳・靴を含む）：△50,122<ul><li>- 合計：△69,616</li></ul> ブレンドシェイプ:- 顔: 138個 (MMDブレンドシェイプ含む)<ul><li>- ボディ：32種類（衣装の貫通防止用）</li><li>パフォーマンスランク：Very Poor</li></ul> ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 📦 付属ファイル✅ FBX, Unitypackage✅ テクスチャ (PNG)- Diffuse Map: 4096×4096 (Unityでは2048×2048としてインポート)- Mask Map: 512×512- Normal Map: 4096×4096 (Unityでは2048×2048としてインポート)✅ ReadMe.txt ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ ⚙️ 必要なもの✅ Unity 2022.3.22f1✅ VRChat SDK 3.9.0以上 (最新VCCバージョン推奨)✅ VRChat Creator Companion (VCC)✅ VRChat/Mobile/Toon Standard Shader✅ VRChat SDK Control PanelをAndroidに設定することが必須です <span style="font-family: &quot;Noto Sans SC&quot;, &quot;Noto Sans JP&quot;, &quot;Noto Sans KR&quot;, &quot;Source Han Sans JP&quot;, system-ui, sans-serif, &quot;Apple Color Emoji&quot;, &quot;Segoe UI Emoji&quot;, &quot;Segoe UI Symbol&quot;, &quot;Noto Color Emoji&quot;">ENGLISH VERSION ═══════════════════════════════════════════ ⚠️ Please Read Before Purchase✅ This avatar is PC-only (Quest unsupported)✅ Results may change if you change to a different shader.━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 🎨 Description[Lucy] is an original 3D avatar created by CONNECT Studio exclusively for VRChat.The avatar and outfit are both included. Provided as a fully set-up Prefab, you can use it immediately in VRChat with just a simple build in Unity.✅ Avatars 3.0 Compatible✅ PhysBone Support (Ears/Tail)✅ LipSync Support✅ Uses VRChat/Mobile/Toon Standard Shader✅ Includes 6 base expressions + MMD blend shapes✅ Quest-only✅ Use by changing VRChat SDK Control Panel to Android✅ Platforms other than VRChat are not supported. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 📊 Model Specifications- Avatar: △19,494- Outfit (includes hair/tail/ears/shoes): △50,122- Total: △69,616 Blendshapes:- Face: 138 shapes (includes MMD blendshapes)- Body: 32 shapes (for preventing the outfit clipping issue)Performance Rank: Very Poor ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 📦 Included Files✅ FBX, Unitypackage✅ Textures (PNG)- Diffuse Map: 4096×4096 (Imported as 2048×2048 in Unity)- Mask Map: 512×512- Normal Map: 4096×4096 (Imported as 2048×2048 in Unity) ✅ ReadMe.txt ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ ⚙️ Requirements✅ Unity 2022.3.22f1✅ VRChat SDK 3.9.0 or higher (Latest VCC version recommended)✅ VRChat Creator Companion (VCC)✅ VRChat/Mobile/Toon Standard Shader✅ Must set VRChat SDK Control Panel to Android

[Lucy] Star Cheerleader Uniform

Garment

VRChat

Character

Lucy

Item Type

Clothing

Casual

Sports

Platform

[Lucy] Magical Heart Idol Dress

[Lucy] Marine Star Academy Set

[Lucy] Cozy Paw Hoodie Set / PC Ver.

Muscular Doge: Standing Edition

ハイパーノヴァ・ストリート・セット / 『しなの』 - Shinano

[Lucy] Honey Latte Uniform

[VRChat向け]レトロなオーバルサングラス / 3D衣装小物 / Y2KOval Sunglas

ハイパーノヴァ・ストリート・セット / 『マヌカ』 - Manuka

<h2 style="text-align: center">Ever wondered how a highly detailed Lolita dress is made in 3D?</h2><h2 style="text-align: center">From layered frills to hand-crafted bows, 3D Character Artist Honghui Qiu shares how he brought "Mariée de Kumya" Lolita dress to life with Marvelous Designer — and the challenges that came with it.</h2><hr><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/1046712379?#t=0" frameborder="0" allowfullscreen="" width="800" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/qhhkkkk">Honghui Qiu</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/florencianespola1"> </a>| <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/q">Mariée de Kumya Lolita Dress</a> | 3D Character Artist</h1><hr><h1>Please introduce yourself to the Marvelous Designer community.</h1>Hello everyone! My name is Qiu Honghui, a 3D character artist from China. I've been working in the game industry for two and a half years.I was first introduced to 3D during a university course and found it incredibly fascinating. That initial spark led me to dive deeper into self-learning. However, I soon realized that 3D creation was far more complex than I had imagined. After graduating, I spent six months in a professional training program, which helped me gain the skills needed to enter the game industry.<h1>What inspired you to create this piece? Could you share the story behind it?</h1>The inspiration came from a Lolita fashion show I stumbled upon on Bilibili. I was struck by how exquisitely detailed each outfit was, which sparked my interest in learning more about Lolita fashion.This particular design is based on the 2023 “Mariée de Kumya” (Bear Bride) dress by Baby, The Stars Shine Bright. I was fascinated by its rich design elements — lace, embroidery, pearls, and satin, especially the intricate layering around the neckline, cuffs, and hem. I felt that recreating it in 3D could truly highlight its elegance and craftsmanship.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/c21e02d300f54369a28c86285d8a2696%E7%86%8A%E7%86%8A%E8%8A%B1%E5%AB%81%E8%8D%89%E8%8E%93%E5%9B%AD%20%E5%AE%9E%E7%89%A9.jpg" alt="c21e02d300f54369a28c86285d8a2696" class="custom-image original-size" data-id="c21e02d300f54369a28c86285d8a2696" data-width="480" data-height="720"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/471ec7e5defd440fa8d7944aaa3f1c7f%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA12.jpg" alt="471ec7e5defd440fa8d7944aaa3f1c7f" class="custom-image original-size" data-id="471ec7e5defd440fa8d7944aaa3f1c7f" data-width="3840" data-height="2160"><h1>This Lolita design includes many intricate details such as layered patterns, bows, and lace trims. How did Marvelous Designer help improve your workflow or enable unique design effects?</h1>When working with multiple layers in Marvelous Designer, I use the Layer feature to define the hierarchy of each pattern. I also rely on Deactivate and Freeze functions to adjust layers individually.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/eaa475663865471daf92400dd1591168MD%E6%88%AA%E5%9B%BE02.png" alt="eaa475663865471daf92400dd1591168" class="custom-image original-size" data-id="eaa475663865471daf92400dd1591168" data-width="2511" data-height="1911">Creating lace trims is also very efficient in Marvelous Designer. I typically adjust the pattern length or modify the weft/warp shrinkage ratio to achieve lace-like effects, and sometimes use the pleats and fold tools to create textures similar to pleated skirts.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/3fec3db6c7054d3389cbc9bfe34e7e76MD%E6%88%AA%E5%9B%BE01.png" alt="3fec3db6c7054d3389cbc9bfe34e7e76" class="custom-image original-size" data-id="3fec3db6c7054d3389cbc9bfe34e7e76" data-width="2515" data-height="1914"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/e76341eebdbd4bad8c3dcaa39ce22032%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA03.jpg" alt="e76341eebdbd4bad8c3dcaa39ce22032" class="custom-image original-size" data-id="e76341eebdbd4bad8c3dcaa39ce22032" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/b5f1aae341e34b93918128849a3db362%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA07.jpg" alt="b5f1aae341e34b93918128849a3db362" class="custom-image original-size" data-id="b5f1aae341e34b93918128849a3db362" data-width="3840" data-height="2160">The bows featured on the Lolita dress were all made using Marvelous Designer. One major advantage of using the software for bow creation is the flexibility to quickly model different styles based on your needs. I often use the Fold Arrangement tool and fine-tune details by adjusting the fold angle along internal lines.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/14f125bf835b490290623c56a906957e%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA09.jpg" alt="14f125bf835b490290623c56a906957e" class="custom-image original-size" data-id="14f125bf835b490290623c56a906957e" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/06538a62d14646b0b3221f9a87b649d8%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA11.jpg" alt="06538a62d14646b0b3221f9a87b649d8" class="custom-image original-size" data-id="06538a62d14646b0b3221f9a87b649d8" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/16e16f7698d648d19916443025e6c80c%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA10.jpg" alt="16e16f7698d648d19916443025e6c80c" class="custom-image original-size" data-id="16e16f7698d648d19916443025e6c80c" data-width="3840" data-height="2160"><h1>Did you encounter any challenges during the creation process? How did you overcome them?</h1>The main challenge I faced was with the skirt. Due to its large surface area and the layering of multiple pattern pieces, the CPU simulation became quite laggy. Additionally, it was difficult to achieve the exact volume and shape I had envisioned for the skirt.To resolve this, I worked on the skirt separately in a dedicated project file, and went through multiple iterations adjusting the structure of the petticoat. I also fine-tuned the fabric properties for each layered piece individually. These steps eventually helped me reach a satisfying result.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/d0f30adc247d4eee8d4ca45c24d7848d%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA01.jpg" alt="d0f30adc247d4eee8d4ca45c24d7848d" class="custom-image original-size" data-id="d0f30adc247d4eee8d4ca45c24d7848d" data-width="3840" data-height="2160"><h1>Could you briefly walk us through the tools and software you used during this project? Was Marvelous Designer well integrated into your workflow?</h1>I began with Marvelous Designer to create the garments during the modeling phase. The assets were then imported into Blender, where I performed retopology, added edge bindings, and created accessories.For the texturing process, I used Substance Designer to craft the fabric patterns and materials. Final rendering was done in Blender.Overall, the workflow between Marvelous Designer and Blender was very smooth and efficient.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/ef14418d53db452cac24563c97a54f23%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA13.jpg" alt="ef14418d53db452cac24563c97a54f23" class="custom-image original-size" data-id="ef14418d53db452cac24563c97a54f23" data-width="3840" data-height="2090"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/3c3f6403046e49508b51cab8dff65573%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA17.jpg" alt="3c3f6403046e49508b51cab8dff65573" class="custom-image original-size" data-id="3c3f6403046e49508b51cab8dff65573" data-width="3840" data-height="2090"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/63f5e08df7a94c6192087e05d0fe6160%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA14.jpg" alt="63f5e08df7a94c6192087e05d0fe6160" class="custom-image original-size" data-id="63f5e08df7a94c6192087e05d0fe6160" data-width="3840" data-height="2090"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/074d8dd9ebd8403697a84b59b61c0a9c%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA15.jpg" alt="074d8dd9ebd8403697a84b59b61c0a9c" class="custom-image original-size" data-id="074d8dd9ebd8403697a84b59b61c0a9c" data-width="3840" data-height="2090"><img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/b05303d935dc4714b822857f9c9583f5%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA16.jpg" alt="b05303d935dc4714b822857f9c9583f5" class="custom-image original-size" data-id="b05303d935dc4714b822857f9c9583f5" data-width="3840" data-height="2090"><h1>Do you have any advice for beginners who want to create a Lolita-style outfit using Marvelous Designer?</h1>My first piece of advice would be to use a higher-spec computer, as creating detailed Lolita garments can be quite demanding on system performance, especially when dealing with multiple layers and heavy simulations.Also, it’s very helpful to collect high-quality references of Lolita designs. I’d like to recommend my mentor, JueFei Kay20000 — you can check out his ArtStation portfolio here:<a target="_blank" rel="noopener noreferrer nofollow" href="https://kay20000.artstation.com">https://kay20000.artstation.com</a><h1>How has your overall experience with Marvelous Designer been? Are there any improvements or new features you’d like to see in the future?</h1>This piece was created in 2023, when GPU simulation optimization hadn’t been introduced yet — so the process was relatively slow.However, with continuous updates, Marvelous Designer has made significant improvements in performance. I recently saw the feature highlights for Marvelous Designer 2025.0, and I’m especially looking forward to the redesigned UI and the quick-access asset store, both of which I believe will greatly enhance workflow efficiency.<img src="https://storagefiles.clo-set.com/public/community/202506/fc8a1ec901504001bda74fd0f890409b/images/8f6558a981fe405691b3dc24aa1f9122%E4%BD%9C%E5%93%81%E5%B1%95%E7%A4%BA04.jpg" alt="8f6558a981fe405691b3dc24aa1f9122" class="custom-image original-size" data-id="8f6558a981fe405691b3dc24aa1f9122" data-width="3840" data-height="2160"><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/qhhkkkk">Artstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/19462987">Bilibili</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5db3019f0000000001006cba?xsec_token=ABNyM9g_1t4qNIZ7P48FA3UICMa9L426P9VlDHeQffIdI=&amp;xsec_source=pc_note">RedNote</a>

Mariée de Kumya — Recreating Lolita Dress in Marvelous Designer 🎀

<h2 style="text-align: center">Climate anxiety is hard to talk about, so this creative trio decided to dress it up. By merging London’s iconic trench coat with emergency survival gear, "The Drench Coat" captures attention through high fashion before delivering a sharp statement about London's flood risk. Read how a copywriter, an art director, and a 3D designer subverted the luxury aesthetic to create a hauntingly functional piece of speculative activism.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/ae05eb5be06c4faaba85bf443909ad1eMid-Flood%20Landscape.png" alt="ae05eb5be06c4faaba85bf443909ad1e" class="custom-image large-size" data-id="ae05eb5be06c4faaba85bf443909ad1e" data-width="1536" data-height="1024"><h1>Part 1: The Concept &amp; Collaboration</h1>Q1. (To the Team) Let’s start with the origin story. "The Drench Coat" is a brilliant yet alarming concept. How did a fashion designer, an art director, and a copywriter come together to tackle London’s flood risk?The insight around rising water levels was something <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/hjplumridge/">Henry</a> &amp; <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/chelseasheadspace.art/">Chelsea</a> had been discussing for a while. We wanted to create something that brought a future crisis to the forefront and made it feel tangible.Then Henry texted Chelsea early one morning with an idea for a "Trench Coat Life Jacket", a cheeky way to draw attention to something very real. The phrase itself captured everything. Chelsea and I were immediately drawn to the idea of combining two wearable items into something entirely new, and the trench coat felt like the perfect vessel given its rich history in London. You can't go anywhere in this city without seeing one.We both agreed that having a real fashion designer develop a bespoke look felt more authentic. Henry and I are advertising creatives so designing clothes isn't really our expertise, and it would have been an injustice to the idea to pretend otherwise. So I reached out to a London freelance group chat with a short synopsis of the project to see if anyone would be interested. Someone connected me with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shoppetitesage/">Hadjer</a>, who is well-versed in garment design through CLO. I put together a brief, the three of us jumped on a call, and it all went from there.Q2. (To Henry - Copywriter) The messaging is incredibly sharp: "High Fashion for High Waters." Why use the language of fashion to communicate climate anxiety to Londoners?The language of fashion is something these areas of London understand. The areas of London we are trying to talk to and divert their attention to the climate crisis. So it works as a sort of a ‘trojan horse’, in that respect. It intrigues first, makes these people feel spoken to, then communicates what we really want them to know.&nbsp; Q3. (To Chelsea - Art Director) Visually, the piece balances the classic British trench coat with emergency survival gear. What was the art direction process like to ensure it didn't look like a costume, but rather a hauntingly realistic piece of equipment?When putting together the brief for Hadjer, I built references for the “world” we’re in vs the “world” we’re avoiding. Staying away from hyper futurism &amp; science fiction, which are places our minds easily wander to when discussing a “future” themed design. I made sure to gather as many references for trench coats and life vests as possible. It was important to understand what makes a trench coat a trench coat — and what makes a life jacket a life jacket. While we were creating something entirely new, it only works if there's enough resonance with where each element comes from. Otherwise the story gets lost.In our first call with Hadjer, she quickly put together an initial sketch that was a beautiful, well-crafted combination of both garments. But it was missing the statement. We didn't want this to be a project about beauty or aesthetics, we wanted to lean into the irony of climate change, and for that it needed to feel functional, almost unsettlingly practical.After we outlined the tone and direction, Hadjer went back to the drawing board and came back with something that nailed it. Once we landed in the right direction, the momentum carried us forward.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/872a5ab62c184c7dba9ad9fb762cae63upper%20body%20shot%20portrait.png" alt="872a5ab62c184c7dba9ad9fb762cae63" class="custom-image large-size" data-id="872a5ab62c184c7dba9ad9fb762cae63" data-width="1080" data-height="1920"><h1 style="text-align: left">Part 2: The Craft &amp; CLO Workflow</h1>Q4. (To Hadjer - Fashion Designer) Let's talk about building this in CLO. The tailoring looks immaculate—glen plaid paneling, double-breasted hardware. What was the most challenging part of constructing the base trench coat digitally?The base started from scratch. I drafted the patterns directly in CLO, referencing a trench coat block I’ve developed in real life, so I approached it as actual tailoring rather than building visually around an avatar.The most challenging part was maintaining structure while introducing complexity. A trench coat already has multiple layers, overlap, and hardware, but here I was also integrating pressurized volumes and additional trims. That creates instability very quickly in CLO if everything isn’t built correctly at the pattern level.I constructed the double-breasted front with a real overlap and handled fit adjustments directly in 2D, the same way I would in physical pattern making. That gave me control over proportion and balance instead of relying on surface-level tweaks.The main technical challenge was keeping the garment stable during simulation and animation. With multiple fabric layers, different pressure values for the inflated sections, and custom trims, the system can easily break or behave unpredictably. A lot of the work went into refining pattern relationships, managing how pieces interact, and making sure the garment holds its shape under those conditions.Where I think I had an advantage was speed. Because I’m comfortable with pattern construction and CLO’s core tools, I’m not spending time troubleshooting basic issues. That lets me move quickly through iterations and focus most of my time on pushing the design and resolving the garment at a higher level rather than just getting it to work.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/3fa739b6b64842e1971c182d9298c634Screenshot%202026-05-07%20085544.png" alt="3fa739b6b64842e1971c182d9298c634" class="custom-image large-size" data-id="3fa739b6b64842e1971c182d9298c634" data-width="3831" data-height="2073">Q5. (To Hadjer - Fashion Designer) Integrating the survival elements—the oral inflation valve, the whistle, the webbing straps—must have been complex. Did you use any specific CLO tools or workflows to integrate these hard-surface objects with the soft fabrics?That part was definitely the most technical because I was combining soft fabric simulation with hard trims and inflated volumes, which don’t naturally behave well together in CLO.For the inflatable sections, I applied pressure to cloned pattern layers with opposing values to create the realistic expansion. Then I controlled the timing in the Animation Editor so the garment transitions cleanly between flat and inflated states.For the hard surface elements, I used a mixed workflow depending on what made the most sense. The whistle was built in Blender and brought into CLO as a trim, and the tube was done quickly in Nomad Sculpt to keep things efficient. The red pull detail, on the other hand, I built directly in CLO. I also used CLO’s buckle library where it worked, instead of overcomplicating it.The straps are fully constructed as pattern pieces with a strap material, so they behave correctly in simulation. For attaching everything, I used a combination of sewing, arrangement points, bonding, and glued trims, basically following real garment logic rather than just placing things visually.The main challenge wasn’t building the elements, it was keeping everything stable. With multiple layers, pressure values, and trims, it’s easy for the simulation to start jittering or breaking. So I worked very incrementally, simulating after each addition and resolving any collision or instability before moving forward.The only part that’s more visually driven is the inflation mechanism itself. Everything else is built to behave as accurately as possible within CLO.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/ce8b442862ef4c4b92b768a0817d55a6Inflate_Animation_1x1.gif" alt="ce8b442862ef4c4b92b768a0817d55a6" class="custom-image original-size" data-id="ce8b442862ef4c4b92b768a0817d55a6" data-width="480" data-height="480">Q6. (To the Team) The texturing and rendering are what make this piece so believable. How did you approach the fabric properties and lighting to achieve that photorealistic finish?Since this is a more technical question, we’re letting Hadjer take the lead on this one.[From Hadjer] – For me, realism really starts at the fabric level. If the material doesn’t behave correctly during simulation, no amount of rendering will fix it, so that’s always where I focus first.I used a mix of sources depending on the need. Some fabrics came from Adobe Substance assets, others from Sunwell files on CONNECT, and in a few cases I built them directly in CLO using CLOFAB to generate my own maps. That was especially important for the flotation material. I needed a very specific texture, but I didn’t want it to read as plastic, so I spent time adjusting both the maps and the physical properties until it felt believable.For the glen plaid, I worked from a full texture file and then refined the scale and placement so it sits correctly on the garment. It’s a small detail, but if the scale is off, the whole piece starts to feel digital.In terms of simulation, I’m constantly adjusting fabric properties as I build. Things like weight, stiffness, and thickness make a big difference in how the garment reads. Even early on, I’ll reduce particle distance on smaller or more detailed pieces so they drape properly, rather than waiting until the final render. Then at the end, I push the render quality as high as my system allows to clean everything up.The design itself is fairly controlled, so I wasn’t relying on random folds. When I needed them, I used multiple internal lines to guide how the fabric breaks, so the folds develop gradually and feel intentional. If I want something sharper, like a pleat, then I’ll use a single internal line instead. That level of control makes a big difference in how clean the garment reads. Lighting is what actually makes the texture visible. You can have the best maps and fabric setup, but if the lighting is flat, everything reads as one surface. I built a custom lighting setup by positioning lights manually and controlling their intensity, size, and direction specifically to catch highlights and shadows across the material. That’s what brings out depth, surface variation, and makes the fabric feel real instead of digital.I tested HDRIs and more dramatic setups as well, but we chose a cleaner configuration that still allows the texture to read clearly without overpowering the garment.In the end, it really comes down to the relationship between fabric behavior and lighting. Texture is there, but lighting is what reveals it.<img src="https://storagefiles.clo-set.com/public/community/202606/9b5c0c1bad054fc998e2f0ebad39b525/images/233a273bd07d48c7a187677a80517e55render%20anim%201_319.png" alt="233a273bd07d48c7a187677a80517e55" class="custom-image large-size" data-id="233a273bd07d48c7a187677a80517e55" data-width="1920" data-height="1080"><h1>Part 3: Impact &amp; The Future</h1>Q7. (To the Team) As a digital-only garment (for now), you bypass the physical waste of traditional fashion. Do you think 3D design is the most effective tool for "conceptual fashion" and activism today?We do think 3D design is one of the most effective tools for conceptual fashion right now, especially when the goal is to communicate an idea quickly and clearly. It allows you to combine design, prototyping, and storytelling in one process, without the time and material waste you’d normally have in physical development.For something like this project, it’s really about awareness. You can take a concept that would be difficult or expensive to produce physically and still present it at a level where people take it seriously. That speed and clarity make it very effective for activism and speculative design.At the same time, it doesn’t replace everything. You still don’t have the physical experience of the garment, how it feels on the skin, how materials interact in reality. That part is still essential, especially when you move toward production.[From Hadjer] – In my case, I use CLO as a real design tool. From a technical standpoint, I’m building garments the same way I would physically, through pattern making, fit, and material behavior. But creatively, it also gives me the freedom to test ideas that would be difficult to execute in real life.One thing I think is often misunderstood is the difference between digital fashion and digital prototyping. A lot of people see 3D garments as purely visual or tied to gaming, but in reality, it’s a technical process. You’re working with fabric physics, construction, and fit. When it’s done properly, you’re essentially creating a digital version of a real garment that could go straight into production.And just because it’s faster doesn’t mean it’s easier. The speed comes from knowing what you’re doing. Otherwise, you still run into the same problems you would in physical design, just in a different environment.Q8. (To the Team) You are planning a physical version for London Fashion Week. How has designing this first in CLO prepared you for the physical production phase?Designing it in CLO first gave us a clear understanding of the garment before anything physical exists. Being able to show a version of a CLO design that's public facing has also helped us gain interest in “flood fashion” in general before moving to next steps. We aren’t guessing proportions or construction, we’ve already built and tested them at the pattern level.Because we drafted everything from scratch, we already know how each piece comes together, how the volume is distributed, and how the garment sits on the body. That removes a lot of the trial and error you would normally have in early sampling.[From Hadjer] – It also helped identify where the complexity actually is. The base trench is fully resolved, so the focus going into production would be on engineering the functional elements, especially the inflatable sections and hardware, rather than redesigning the garment itself.At the same time, it makes the limitations clear. CLO gives you a very good representation of behavior, but you still don’t have the physical feel of materials. So the next step would be translating those fabric choices into real-world equivalents and testing how they interact.Overall, it speeds up the process and makes it more controlled. You go into production with decisions already made instead of figuring them out as you go.<img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/ba0717fe157f49c8aeb557b4b39774a0render%20anim%201_423.png" alt="ba0717fe157f49c8aeb557b4b39774a0" class="custom-image large-size" data-id="ba0717fe157f49c8aeb557b4b39774a0" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202605/9b5c0c1bad054fc998e2f0ebad39b525/images/6de937b8cdab40c9afca11d697333944ring%20shot%20landscape%20.png" alt="6de937b8cdab40c9afca11d697333944" class="custom-image large-size" data-id="6de937b8cdab40c9afca11d697333944" data-width="1920" data-height="1080">Q9. (To the Team) Many of our readers are individual freelancers or students who want to create meaningful work. What advice would you give to creatives who want to use 3D design for social or environmental causes?Build around one single idea with as much craft as you can. The concept gets people interested but the execution is what makes them take it seriously. Start with a clear point of view. The tool doesn’t make the work meaningful, the idea does. If the message isn’t strong, no level of rendering or technical skill will carry it.[From Hadjer] – Use 3D to test and push ideas that would be difficult to explore physically. The advantage is speed and flexibility, so take advantage of that. Iterate quickly, try different directions, and refine until the concept feels resolved, not just visually appealing.At the same time, treat it like real design. Build your garments properly, understand pattern making, and learn how fabrics behave. That’s what makes the work convincing. If it only looks good from one angle, it won’t hold up.Also, don’t limit yourself to what feels “realistic” at first. Some of the most interesting work comes from testing ideas that wouldn’t normally be produced. You can always bring it back to reality later if needed.And finally, be intentional with how you present it. Lighting, pose, and context matter just as much as the garment. If you’re trying to communicate something, everything in the image should support that message.

Trojan Horse Fashion: Harnessing the Language of Luxury for Climate Activism

Freelancer

Championship Thread

OUTDOOR LIFESTYLE CREATOR

Inside the Costa Rican Brand Designing Entire Collections in CLO

A sci-fantasy female armor project I recently created in CLO3D as part of my game-ready character asset workflow.The goal was to design an elegant yet battle-ready armor set that combines fantasy aesthetics with clean, production-friendly topology.<h3>Highlights</h3>• Low-poly game-ready model • Clean quad topology • 4K PBR textures (4096×4096) • Optimized UV layout • Suitable for games, cinematics, and real-time renderingThis project focuses on balancing visual detail with optimization while keeping the armor practical for production pipelines.Feedback and suggestions are always welcome!<img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/8c19b6e9da49422ca7d316d067a4ee0ftambline.png" alt="8c19b6e9da49422ca7d316d067a4ee0f" class="custom-image original-size" data-id="8c19b6e9da49422ca7d316d067a4ee0f" data-width="1031" data-height="1375"><img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/af6d9e6b14054e6ab3c56bc1b6cb12cff5df3be8-fce3-4b1e-8a84-082a00fab287.png" alt="af6d9e6b14054e6ab3c56bc1b6cb12cf" class="custom-image original-size" data-id="af6d9e6b14054e6ab3c56bc1b6cb12cf" data-width="1033" data-height="1522"><img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/773fe24b6a2d4feb89c6aff0a8d5d9c7silver.png" alt="773fe24b6a2d4feb89c6aff0a8d5d9c7" class="custom-image original-size" data-id="773fe24b6a2d4feb89c6aff0a8d5d9c7" data-width="1500" data-height="2000"><img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/63318c53a99b4568b263407e25f88eb4silver_2.png" alt="63318c53a99b4568b263407e25f88eb4" class="custom-image original-size" data-id="63318c53a99b4568b263407e25f88eb4" data-width="1500" data-height="2000"><img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/f1f62e1c7909444a8629af387590078esilver1_Default%20Colorway.png" alt="f1f62e1c7909444a8629af387590078e" class="custom-image original-size" data-id="f1f62e1c7909444a8629af387590078e" data-width="1500" data-height="2000"><img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/a640a96aa532431591e5200a8d4a2833silver_Default%20Colorway.png" alt="a640a96aa532431591e5200a8d4a2833" class="custom-image original-size" data-id="a640a96aa532431591e5200a8d4a2833" data-width="1500" data-height="2000"><img src="https://storagefiles.clo-set.com/public/community/202607/221b893753fd4954a1c0130ba59b729e/images/cbf32d951b6244bdb24fc59ec6fc5671Screenshot%202026-06-06%20162715.png" alt="cbf32d951b6244bdb24fc59ec6fc5671" class="custom-image original-size" data-id="cbf32d951b6244bdb24fc59ec6fc5671" data-width="1872" data-height="1048">

Sylvera – Sci-Fantasy Female Armor (V04)

<img src="https://storagefiles.clo-set.com/public/community/202606/659d3c8ccb7247088a466e70eda66dd8/images/ebd6c7b451e84394801ca6363693727dScreenshot%202026-06-30%20at%2015.48.31.png" class="custom-image hidden-thumbnail" data-id="ebd6c7b451e84394801ca6363693727d" data-width="593" data-height="563">Closing date17 Jul 2026Pattern Maker – Women’s Wear &amp; Evening West Palm Beach, FloridaMichelle Farmer, a luxury women’s wear brand known for exceptional craftsmanship and elegant, timeless design, is seeking a detail-oriented Pattern Maker to join our atelier in West Palm Beach.This is a unique opportunity to work closely with a high-end design and production team, specializing in custom garments, couture evening wear, and refined resort collections—all proudly made in the USA.We are also offering paid apprenticeship opportunities for candidates looking to grow their technical skills within a luxury environment, as well as opportunities for freelance pattern makers.Key Responsibilities<ul><li>Assist in creating and modifying patterns for women’s ready-to-wear and evening garments</li><li>Support fittings, take notes, and help execute pattern corrections</li><li>Work closely with the design and production teams to ensure proper fit and construction</li><li>Prepare and organize muslins, samples, and production patterns</li><li>Maintain accuracy in measurements, grading, and garment specifications</li><li>Assist with technical development from concept through final production</li></ul>Qualifications<ul><li>Background or training in pattern making, fashion design, or garment construction</li><li>Strong understanding of fit, drape, and luxury fabric handling (silk, lace, etc.)</li><li>Highly detail-oriented with excellent organizational skills</li><li>Ability to work in a fast-paced, hands-on atelier environment</li><li>Positive attitude with a willingness to learn and grow</li><li>Experience in evening wear and couture.</li><li>Ability to drape and create paper and digital patterns.</li><li>Ability to make bias cut garments.</li><li>The ability to sew samples.</li></ul>Freelance OpportunitiesWe are seeking experienced freelance pattern makers for project-based work. Candidates should be highly skilled in luxury garment construction and able to work independently to execute precise, production-ready patterns.How to ApplyPlease submit your resume and, if available, examples of your work to: <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:michelle@michellefarmer.com">michelle@michellefarmer.com</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.michellefarmer.com/?srsltid=AfmBOoqCSMfsKrJnw8SbPLQ2X2vwrJyJooBVGjIm0QqqIQMGdI0XP7MV">https://www.michellefarmer.com/?srsltid=AfmBOoqCSMfsKrJnw8SbPLQ2X2vwrJyJooBVGjIm0QqqIQMGdI0XP7MV</a>

[Job] Michelle Farmer - Women's Wear & Evening(West Palm Beach, US)

<img src="https://storagefiles.clo-set.com/public/community/202607/ce282864f72b4eb9bde3d0718a42d290/images/355fb549766846bf8bf451665f0e5472photo-output.jpeg" alt="355fb549766846bf8bf451665f0e5472" class="custom-image original-size" data-id="355fb549766846bf8bf451665f0e5472" data-width="1636" data-height="2048"><hr>Production-ready Roman-inspired armor outfit featuring optimized topology, high-quality PBR materials, and cinematic presentation renders. Built in CLO 3D, retopologized in Blender, textured in Substance Painter, and rendered in Marmoset Toolbag.Zahrakarimzadeh.zk@gmail.com<hr>

Vanguard of Rome

<h1 style="text-align: center">House Bag</h1><img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/83d42981a01642e8a20ab6428ff8a094%EC%A0%95%EC%9B%90%EC%97%90%EC%84%9C_%EC%98%A4%EB%A6%AC_%EC%BA%90%EB%A6%AD%ED%84%B0_%EC%97%AC%EB%9F%AC%EB%A7%88%EB%A6%AC%EA%B0%80_%EC%A0%95%EC%9B%90%EC%9D%84_202606302356.jpeg" alt="83d42981a01642e8a20ab6428ff8a094" class="custom-image original-size" data-id="83d42981a01642e8a20ab6428ff8a094" data-width="2752" data-height="1536">Hello~It's been a long time since I've done something so cute. I'm so satisfied that the direction I planned and the appropriate results were expressed when I wanted to make this bag. Ever since I thought of making this, plans have been made to make this bag AI. I thought about bags making it look like a house, and lots of duck characters gardening in the garden around the house.<hr><img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/4e1982600379438385af9520b16c24bdHouseBag.jpg" alt="4e1982600379438385af9520b16c24bd" class="custom-image original-size" data-id="4e1982600379438385af9520b16c24bd" data-width="4000" data-height="7000">The bag made by CLO3D is rendered in these six angles. It's not too complicated to design. Usually, I only use the front, back, left, and right side as a render, but this time, there are details that need to be shown in diagonal, so I also lent the diagonal image.<img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/00bc0f17375a48ce9e4c2e33cad8a465%EB%AA%B8_%EB%82%A0%EA%B0%9C_%EC%96%BC%EA%B5%B4_%ED%9D%B0%EC%83%89_%EB%B3%80%EA%B2%BD_202607011253.jpeg" alt="00bc0f17375a48ce9e4c2e33cad8a465" class="custom-image original-size" data-id="00bc0f17375a48ce9e4c2e33cad8a465" data-width="2752" data-height="1536">Some duck characters were modeled in 3D, but AI helped them express various movements. <img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/17e1ab661db4441ba9b4aa0dbfd0fade%EC%98%A4%EB%A6%AC_%EC%BA%90%EB%A6%AD%ED%84%B0_%EC%97%AC%EB%9F%AC_%EB%A7%88%EB%A6%AC%EA%B0%80_%EC%A3%BC%ED%83%9D%EA%B0%80%EC%97%90_202606302355.jpeg" alt="17e1ab661db4441ba9b4aa0dbfd0fade" class="custom-image original-size" data-id="17e1ab661db4441ba9b4aa0dbfd0fade" data-width="2752" data-height="1536"> And I referred to the landscape of Swiss residential areas. I thought the natural scenery was a wonderful area. It's also a country I want to travel to. <img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/b7e2a279628f47549cbdf88d0241c921%EC%A0%95%EC%9B%90%EC%97%90%EC%84%9C_%EC%98%A4%EB%A6%AC_%EC%BA%90%EB%A6%AD%ED%84%B0_%EC%97%AC%EB%9F%AC%EB%A7%88%EB%A6%AC%EA%B0%80_%EC%A0%95%EC%9B%90%EC%9D%84_202606301838.jpeg" alt="b7e2a279628f47549cbdf88d0241c921" class="custom-image original-size" data-id="b7e2a279628f47549cbdf88d0241c921" data-width="2752" data-height="1536"><img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/b5170e6b78674e2893e1e05d45ebf336%EC%A0%95%EC%9B%90%EC%97%90%EC%84%9C_%EC%98%A4%EB%A6%AC_%EC%BA%90%EB%A6%AD%ED%84%B0_%EC%97%AC%EB%9F%AC%EB%A7%88%EB%A6%AC%EA%B0%80_%EC%A0%95%EC%9B%90%EC%9D%84_202606302356.jpeg" alt="b5170e6b78674e2893e1e05d45ebf336" class="custom-image original-size" data-id="b5170e6b78674e2893e1e05d45ebf336" data-width="2752" data-height="1536"> I always live in front of a computer in the city, so I think these simple landscapes look so beautiful. <img src="https://storagefiles.clo-set.com/public/community/202607/35e0b35419fb4ac7a119a8bdc8b6c8c6/images/e8fa881ad4394c90addca41fb74e2af1%EC%A7%91%EC%9D%B4_%EC%A2%80%EB%8D%94_%EA%B0%80%EA%B9%8C%EC%9D%B4%EC%97%90%EC%84%9C_%EC%B4%AC%EC%98%81%EB%90%9C_%EC%82%AC%EC%A7%84%EC%9C%BC%EB%A1%9C_202607010012%20%281%29.jpeg" alt="e8fa881ad4394c90addca41fb74e2af1" class="custom-image original-size" data-id="e8fa881ad4394c90addca41fb74e2af1" data-width="1792" data-height="2400"> The images were created first, specifying in detail what the duck characters should do, and then moving them to Prompt. I wrote a short piece today. It was great to make and watch the garden life of cute duck characters.But don't forget, the purpose of this video was to show a bag that looked like a house.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/979xqL1xeu8" 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>

My Grandma

Marvelous Designer Official

Marvelous Designer Official