Hey community, Have you ever copied something so perfectly that it starts looking back at you… respectfully?I have.Here’s the bag: 👉 <a target="_new" rel="noopener" class="" href="https://es.coach.com/es_ES/products/bolso-tote-cargo-26-coach-x-peanuts/CBH43-B4TXJ.html?frp=CBH43+B4TXJ">Original Coach x Peanuts Tote</a>And here’s what I ended up with. I love those “spot the difference” pictures — one is the real bag, the other is 3D.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/e8bbb0a87a8f47c4bc8b025080502714coach%20x%20peanuts%20bag%2026.jpg" alt="e8bbb0a87a8f47c4bc8b025080502714" class="custom-image original-size" data-id="e8bbb0a87a8f47c4bc8b025080502714" data-width="3000" data-height="1500">🎬 Why I Did ItBecause this contest showed up — <a target="_new" rel="noopener" class="" href="https://connect.clo-set.com/contest/thehandbagedit">The Handbag Edit</a> — and I got curious: How precisely can I reproduce a real-world product in CLO3D?Turns out — 100% precisely. And I’m very happy with that. <h3>🛠 How It Was Made (tech breakdown, no sugarcoating)</h3>I took all my reference and measurements directly from the brand’s official product page. Then everything was “stitched” manually in CLO — every seam, stitch, fabric thickness, hardware detail.1) Base shape, no detailing yet — Use the measurements from the site, build a clean box shape, control seam angles to get those crisp, structured corners (not a soft cylindrical pouch). — Skip using avatars for bags — it’s faster and more accurate without them. — Set the fabric physical properties to Trim — the firmest preset.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/e0c2e39b23464962a6c59c85c19e03cc4_2%20%286%29.jpg" alt="e0c2e39b23464962a6c59c85c19e03cc" class="custom-image original-size" data-id="e0c2e39b23464962a6c59c85c19e03cc" data-width="2000" data-height="827">2) Added detailing on front and back panels — Just sliced and stitched the panels. — Edge finishing is key — it’s the visual master. With proper edges, the detail level gets so high, even the original brand would squint. <img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/610f770ffe1744cb8547f1bf2de0b41d4_2%20%286%29%20%281%29.jpg" alt="610f770ffe1744cb8547f1bf2de0b41d" class="custom-image original-size" data-id="610f770ffe1744cb8547f1bf2de0b41d" data-width="2000" data-height="827">3) Handles — super easy to model — But add +100 points to visual credibility. — Use a denser material and add topstitching along the edge for realism.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/7b1ebbb2e3664dd4a85dc08bc18e8af04_2%20%286%29%20%282%29.jpg" alt="7b1ebbb2e3664dd4a85dc08bc18e8af0" class="custom-image original-size" data-id="7b1ebbb2e3664dd4a85dc08bc18e8af0" data-width="2000" data-height="827">4) Texturing — the ultimate mimic tool — I used a clean UV unwrap. — The bag parts are all square, so the UVs packed compactly. — I based my texture directly on photos from the official website. — Cut and paste elements onto the UV layout — the product photos were high quality, so the result looks sewn, not simulated.5) Baking the textures — Only using a normal map and base color. — I baked the normal map in Photopea — a free online Photoshop alternative. — Cleaned up artifacts from both normal and color maps in there as well.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/aaa4c1c8a133429f936eaa081bce68764_2%20%286%29%20%283%29.jpg" alt="aaa4c1c8a133429f936eaa081bce6876" class="custom-image original-size" data-id="aaa4c1c8a133429f936eaa081bce6876" data-width="1650" data-height="827">I didn’t model the bag’s interior — on purpose. It’s not shown in the product either, and I wanted to stay authentic.But next time — I’ll go full anatomy. Stay tuned 😉<hr><h3>🧠 The Point</h3>I’m not a designer — not in the “I invent from scratch” sense. I’m more of a 3D technician. I see a reference that gives me chills — and I want to recreate it, exactly.That’s art, too. Just in another dimension.<hr>👀 Coming up next:<ul><li>How I “leveled up” this bag for the actual contest</li><li>And why CLO‑SET wouldn’t let me sell my copy… until I “unbranded” it</li></ul>Stay sharp, fellow 3D modelers. We’re not just converting polygons — we’re recreating reality.— Epi_Kai, CLO rebel since forever 😎<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/uMlBEmJqlHU?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><img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/449174117d40431fb81bb85710a20775lily%20%286%29%20%281%29.jpg" class="custom-image hidden-thumbnail" data-id="449174117d40431fb81bb85710a20775" data-width="1500" data-height="1997">

🎯 How I Cloned Coach x Peanuts and Felt Pretty Damn Proud of Myself

Every Style Tells a Story

<h2 style="text-align: center">Discover the exclusive behind-the-scenes journey of Marvelous Designer's contribution to Half M.T studio's award-winning project, 'The Voice in the Hollow,' which proudly received the Jury Award at the 2023 Siggraph.</h2><hr><h1>Interview with Half M.T Studios | The Voice in the Hollow﻿</h1><div data-youtube-video=""><iframe width="640" height="480" allowfullscreen="true" autoplay="false" disablekbcontrols="false" enableiframeapi="false" endtime="0" ivloadpolicy="0" loop="false" modestbranding="false" origin="" playlist="" src="https://www.youtube-nocookie.com/embed/_FOw3DpcB18" start="0"></iframe></div><h1>Introduction: Interviewee Artist &amp; Half M.T Studios</h1>I'm Miguel Ortega, a director and VFX supervisor at Half M.T Studios in Los Angeles, California. The studio, co-founded by Tran Ma and myself, gets its name from us - Half Miguel, Half Tran. Recently, we completed "The Voice in the Hollow," an African Animated Horror film rendered in Unreal Engine 5. We made this film with a small team, backed by the support of Gnomon.<h1>Congratulations on the winning of the Jury Award at SIGGRAPH 2023! Can you tell us more about the project: 'VOICE IN THE HOLLOW'?</h1>We're really honored to have won that award. I've been attending Siggraph ever since I was a student at Gnomon, which is over 18 years now. Getting an award from them means a lot to us. "The Voice in the Hollow" is a horror film we made completely in Swahili. It centers on two sisters and their jealousy. We managed to wrap it up in just 10 months, during the last part of the COVID pandemic.<h1>Why did you decide to use Marvelous Designer? How did it help you serve art direction?</h1>Marvelous Designer played a crucial role in our film. We mainly used Megascans assets, tweaking them into something entirely new. But with Marvelous Designer, we found we could add a lot of complexity to our sets without much effort. Fabric created in Marvelous Designer looks real, intricate, and beautiful, and it's surprisingly easy to work with. This was a game-changer for Tran, our lead Marvelous Designer artist. She was able to quickly bring a wide range of fabric details into our scenes, adding depth and realism in a short amount of time.On top of enhancing our sets, we also used Marvelous Designer for all our characters' clothing. It was a straightforward process to design and simulate the cloth entirely within Marvelous Designer. This tool really streamlined the way we brought our characters to life, giving them a more authentic and dynamic look with minimal hassle.<img src="https://storagefiles.clo-set.com/public/community/202412/e97a0f2d6a19439cba6cbdc5d1ec0292/images/279708ec76a24b89b28ef347ca97a240wip_03%20%281%29.jpg" class="custom-image original-size" data-id="279708ec76a24b89b28ef347ca97a240" data-width="1391" data-height="960"><h1>Could you give us examples of some iconic scenes and characters Marvelous Designer has been used for?</h1>My favorite scenes where we used Marvelous Designer are definitely the ceremony sequence and the final fight. In the ceremony scene, I got the set to a point where it looked pretty good, but then Tran came in and just elevated it. She added fabric everywhere - hanging from the ceiling, wrapped around bones, laid out as rugs - and it looked incredible.For the final fight, using Marvelous Designer really added to the drama. We turned up the wind effects, so the characters' clothes were dramatically flapping in the wind, which I loved. It brought so much intensity to the scene. And all of this was designed and simulated in Marvelous Designer, which shows how powerful the tool can be.<h1>We know that VOICE IN THE HOLLOW is successfully made with Unreal Engine 5. Can you give us a quick overview of your pipeline involving Marvelous Designer, Unreal Engine 5, and other tools?</h1>Since we're a small team, finding the easiest and fastest methods is crucial for us. We discovered that using Alembic caches worked best for our workflow. Our process started with animating the characters in Maya. Then, we did shot modeling to address any deformation issues. After that, these models were brought into Marvelous Designer.In Marvelous Designer, we'd create the cloth simulations, and then export them as Alembic (.ABC) files back to Maya. There, we reassigned the material properties before finally moving everything into Unreal Engine.I'm sure there might be simpler ways to do this, but with our approach, we were able to turn around a shot in just minutes. This speed and efficiency were vital for our project's success, given our team's size.<img src="https://storagefiles.clo-set.com/public/community/202412/e97a0f2d6a19439cba6cbdc5d1ec0292/images/969f36367f0b41d0b48939f57cf3e080ezgif-2-1aa218adc7.webp" class="custom-image original-size" data-id="969f36367f0b41d0b48939f57cf3e080" data-width="800" data-height="450"><img src="https://storagefiles.clo-set.com/public/community/202412/e97a0f2d6a19439cba6cbdc5d1ec0292/images/9ef6355a6fab43baae37cc508b4f37b7ezgif-2-4dda8b3277.webp" class="custom-image original-size" data-id="9ef6355a6fab43baae37cc508b4f37b7" data-width="800" data-height="450"><h1>We saw that the characters' clothes are animated in Marvelous Designer. Were there any challenges when you animated characters' clothes in Marvelous Designer? How did you overcome the challenges?</h1>After we had a basic concept for the clothing in Marvelous Designer but before fully rigging the characters, we would first import the naked model into Mixamo, the free online rigging application. There, we applied basic running or jumping motion capture animations. This step allowed us to then bring these animated models back into Marvelous Designer, now with the clothing applied.At this stage, while the character deformations weren't perfect, it was a critical point for us to identify any potential issues in the clothing simulations. We were constantly balancing between what looked visually appealing and what performed well in the simulation. If the clothing simulation didn't act as we anticipated, we'd adjust the costume design until it matched our expectations. This method was a practical way to ensure that the clothing would look good and behave realistically in the final animation, without having to wait for the characters to be fully rigged.<img src="https://storagefiles.clo-set.com/public/community/202412/e97a0f2d6a19439cba6cbdc5d1ec0292/images/6e91fe93e0984a6ca321e7135b43972cVITH_presentation.033%20%281%29.jpg" class="custom-image original-size" data-id="6e91fe93e0984a6ca321e7135b43972c" data-width="1920" data-height="1080"><h1>Are there any tips and tricks with Marvelous Designer that you can share with the community for animators?</h1>​​A lot of what we've learned comes from Megan's (from the marvelous designer channel) incredible tutorials on YouTube. She's a fantastic resource, and I definitely recommend checking her out if you want to learn from the best. Also, every Friday at 1 PM PST, we do a live stream on the Gnomon YouTube channel. In these sessions, we dive into the process behind our current film. We're experimenting with Marvelous Designer in some pretty unconventional ways, especially using it for architectural details, which is turning out to be quite extraordinary.<h1>How can you describe your overall experience of the use of the Marvelous Designer?</h1>We absolutely love Marvelous Designer; it's been a game-changer for our work. Our passion for it has inspired our latest project, where we've created an entire world made of fabric. Every detail, from the spoons and forks to the intricate Art Nouveau architecture, is crafted in Marvelous Designer. This project, a testament to the versatility and power of Marvelous Designer, wouldn't have been possible without our deep commitment to exploring the full potential of this tool. So thank you guys!<img src="https://storagefiles.clo-set.com/public/community/202412/e97a0f2d6a19439cba6cbdc5d1ec0292/images/753b9aa085e24c279ab4e01b8837d962the_threadings%20%281%29.png" class="custom-image original-size" data-id="753b9aa085e24c279ab4e01b8837d962" data-width="1200" data-height="1738"><img src="https://storagefiles.clo-set.com/public/community/202412/e97a0f2d6a19439cba6cbdc5d1ec0292/images/1b81b585bee04bf4ad941ff388177f6cmaxresdefault%20%2833%29.jpg" class="custom-image hidden-thumbnail" data-id="1b81b585bee04bf4ad941ff388177f6c" data-width="1280" data-height="720">

The Voice in the Hollow﻿

Freelancer

Designer

Character Artist

🌼 THE 70’S STADIUM CLASSIC 🌼 University of Bliss Bay - Heritage Archives EST. 1977 Before the track became a stage. Before the disco ball outshone the stadium floodlights. Before, athletics were just for the athletes. There was a rhythm in the heat, a time when the finish line was just the start of the dance floor. This piece captures the "Groovy-Sport" hybrid era, where high-performance uniforms were infused with enough funk and soul to transition from the outdoor track to the Saturday night roller rink. 🌼 CATALOG NOTES 🌼 • SUNSET SATURATION KNIT A vibrant, sun-soaked orange jersey designed to catch the amber glow of a July afternoon or the neon flash of a dance floor. Lightweight and breathable, it’s a silhouette that prioritizes rhythm as much as it does speed. • WINGS &amp; VINYL CREST A retro Bliss Bay Athletics emblem with victory laurels and “Est. 1977,” celebrating the golden age of campus sports culture. • RHYTHMIC RINGER FINISH High-contrast yellow ribbed binding at the neck and sleeves that creates a visual pulse against the orange base. 🌼 STYLE &amp; MOOD 🌼 A sporty disco energy - cropped, lightweight, and expressive — designed for motion, personality, and warm-weather confidence. Campus Icon attitude - best worn with statement sunglasses, retro sneakers, and an effortless “on-beat” presence. Part of the College Core Discovery CollectionClothes for the moments before records were broken. Item No. BB-1977-SC | Bliss Bay Stadium Heritage Archives⚠️ Technical Note: This item belongs to the tops category. When layered with outerwear, minor visual overlaps may occur.

🎯 How I Cloned Coach x Peanuts and Felt Pretty **** Proud of Myself

Kai_Zen

Kai_Zen