Hello! Another piece of my work what I would like to share with you. I hope you will enjoy it!<img src="https://storagefiles.clo-set.com/public/community/202501/c90cb88e943145bb97a711895bfd8aa1/images/cb63327ded9f42fbb90d3b86a96a09982025-01b.jpg" class="custom-image original-size" data-id="cb63327ded9f42fbb90d3b86a96a0998" data-width="1500" data-height="2121"><img src="https://storagefiles.clo-set.com/public/community/202501/c90cb88e943145bb97a711895bfd8aa1/images/83253f10f73a4da3a651979864d85e1a2025-01a.jpg" class="custom-image original-size" data-id="83253f10f73a4da3a651979864d85e1a" data-width="1500" data-height="2121">

Fashion dress.

<h2 style="text-align: center">VRChatで数多くのワールド制作、3Dデザイン、ディレクションを手掛ける3Dアーティスト、Lura ( <a target="_blank" rel="noopener noreferrer nofollow" href="https://x.com/Lu_Ra_999">@Lu_Ra_999</a> ) 氏。 <a target="_blank" rel="noopener noreferrer nofollow" href="https://quickbrown.net/">QuickBrown Design Studio</a>の代表でもある彼が、これまでのワールド／アセット制作における制作経験を語ります。</h2><h2 style="text-align: center">Lura氏がMarvelous Designerと共に行った、バーチャルリアリティ空間に「快適でリラックスできる空間」をデザインし、創造するための道のりを追います。</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/fd8089806d2645798188d95e313567471-3.jpg" alt="fd8089806d2645798188d95e31356747" class="custom-image original-size" data-id="fd8089806d2645798188d95e31356747" data-width="2896" data-height="4096"><img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/c0e4ee0da2274902ba22c36b4a5934ebbackpack.jpg" alt="c0e4ee0da2274902ba22c36b4a5934eb" class="custom-image original-size" data-id="c0e4ee0da2274902ba22c36b4a5934eb" data-width="2161" data-height="1329"><h1>1. アーティスト紹介</h1>私はVRChatを中心に、ワールド制作やアートディレクション、モデリング、アセット販売を行っているLuraです。 リアルタイムで動作する3DCG空間の制作を得意としており、ゲームやVR向けに住空間やイベント会場などをデザインしています。武蔵野美術大学を卒業後、ゲーム業界で働きながらVRChatでの創作活動を開始しました。 バーチャルマーケットやShaderFesなどのイベントで建築アセットやギミック制作を経験し、2023年にフリーランスとして独立。現在はQuickBrown Design Studioとして活動しています。<hr><h1>2. アートディレクションとビジュアルスタイル</h1>代表的な事例として、「LuminousHotel」ではラグジュアリーなホテル空間をテーマに、長時間滞在しても快適に過ごせるよう設計。手触りの良いギミックも多く盛り込みました。また、280万人以上が訪問した「Floating Airship」では、布を多用して柔らかくリラックスできる空間を演出。VRでも「ぶつかっても痛くない」ような安心感を与えるデザインを目指しました。私が常に意識しているのは「長時間過ごしても不快にならない空間」です。特にライティングにこだわり、落ち着いた雰囲気を重視。VRではオブジェクトを至近距離で観察できるため、違和感を感じさせない精度で仕上げることを大切にしています。<hr><h1>3. Marvelous Designerを用いた制作パイプラインと工夫</h1><h4>【ワールド制作での活用事例：Floating Airship】</h4><ol><li>ワールドメッシュのインポート Marvelous Designerでは既存のワールドのメッシュをそのまま取り込めるため、「Floating Airship」の空間をインポートして活用していました。</li></ol>Floating AirshipをMarvelous Designerに取り込んだ際の画像 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/af120b968eb84f68a1249aa04c6b4d5d1-0.jpg" alt="af120b968eb84f68a1249aa04c6b4d5d" class="custom-image original-size" data-id="af120b968eb84f68a1249aa04c6b4d5d" data-width="2084" data-height="1398"> <ol start="2"><li>布や布団の物理演算配置 取り込んだ空間内に布や布団を物理演算で自然に配置することで、柔らかくリラックスできる雰囲気を実現しています。</li></ol>空間に布や布団を物理演算で配置 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/2659b1b071664681a990f03e492172bb1-1.jpg" alt="2659b1b071664681a990f03e492172bb" class="custom-image original-size" data-id="2659b1b071664681a990f03e492172bb" data-width="2086" data-height="1395"><ol start="3"><li>完成形 最終的に布の配置が空間全体の雰囲気を高め、居心地の良い滞在空間に仕上がりました。</li></ol>完成した空間 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f990cd34979a453dbdc4bb8ba7e4791f1-3.jpg" alt="f990cd34979a453dbdc4bb8ba7e4791f" class="custom-image original-size" data-id="f990cd34979a453dbdc4bb8ba7e4791f" data-width="2896" data-height="4096"><hr><h1>【プロップ制作での活用事例：リュックサック】</h1><ol><li>Marvelous Designerでのモデリング リュックサックをMarvelous Designer上で制作しました。内部に空気を入れるような調整ができ、中身が詰まった自然なシルエットを表現可能です。 この段階では厚み付けは行わず、そのままBlenderへエクスポートします。</li></ol>Marvelous Designerで完成したリュックサック<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f41d31269f5a46d59cac47609fcc25cc2-1.jpg" alt="f41d31269f5a46d59cac47609fcc25cc" class="custom-image original-size" data-id="f41d31269f5a46d59cac47609fcc25cc" data-width="1863" data-height="1393"> <ol start="2"><li>Blenderでの調整 厚みのない状態でBlenderに取り込み、まずトポロジーを整えます。Marvelous Designerで型紙の角を丸めるとトポロジーが複雑になりやすいため、平面のままQuadRemesherをかけてクリーンなトポロジーを確保。その後、厚み付けモディファイアで必要な部分に厚みを追加します。</li></ol>Blenderに取り込んだ際の画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/a764dcb1345b4f6fb6b2566f0bae1e672-2-1.jpg" alt="a764dcb1345b4f6fb6b2566f0bae1e67" class="custom-image original-size" data-id="a764dcb1345b4f6fb6b2566f0bae1e67" data-width="2110" data-height="1399"> QuadRemesherでトポロジーを綺麗にして厚み付けした際の画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/9a8be7165f5844ce8429f00a7c14ef9c2-2-2.png" alt="9a8be7165f5844ce8429f00a7c14ef9c" class="custom-image original-size" data-id="9a8be7165f5844ce8429f00a7c14ef9c" data-width="1920" data-height="1080"><ol start="3"><li>UV展開 トポロジーを綺麗にすることで、厚み付け後のUV展開がスムーズになります。</li></ol>UV展開の全体画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/a53f5e3be9fb4c0bb47939ff6ca0f6de2-3.png" alt="a53f5e3be9fb4c0bb47939ff6ca0f6de" class="custom-image original-size" data-id="a53f5e3be9fb4c0bb47939ff6ca0f6de" data-width="1920" data-height="1080">リュックの制作では、UV1とUV2を明確に役割分担しています。<hr><h5>■ UV1（テクスチャ用）</h5><ul><li>目的：Substance Painterでの質感表現を正しく出すため</li><li>方法：布の面と厚み部分を分離し、特に厚み部分は「直線的」に展開</li><li>利点：曲率マップやエッジマップが綺麗に働き、縫い目の汚れや角の摩耗を自然に追加できる。厚み部分が直線化されているとペイント時の歪みも防げる。</li></ul>UV1（布面＋厚み部分を直線化した展開） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/8eb1f8931c864d08976fcc910a256ec82-4.png" alt="8eb1f8931c864d08976fcc910a256ec8" class="custom-image original-size" data-id="8eb1f8931c864d08976fcc910a256ec8" data-width="1920" data-height="1080"><hr><h5>■ UV2（ライトマップ用）</h5><ul><li>目的：Unityでライトマップベイクした際の破綻防止</li><li>方法：布の面と厚み部分をつなげて展開し、シームを目立たなくする</li><li>利点：UV1のように分離すると解像度不足で縫い目に影やノイズが出やすいため、UV2ではなるべく連続的に展開。多少伸びてもライティング上は自然に見える。</li></ul>UV2（布面と側面をつなげて展開） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f6681d2f046543739a9c243d598f07ca2-5.png" alt="f6681d2f046543739a9c243d598f07ca" class="custom-image original-size" data-id="f6681d2f046543739a9c243d598f07ca" data-width="1920" data-height="1080"><hr><ol start="4"><li>テクスチャリング（Substance Painter） UV1を丁寧に展開しておくことで、曲率マップが正しく機能。エッジに汚しや色の変化を加えることで質感を大幅に高められます。 </li></ol>Substance Painterでの画像（前面） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/66ce90d536354b859ef33d0962c5fa0f2-6-1.jpg" alt="66ce90d536354b859ef33d0962c5fa0f" class="custom-image original-size" data-id="66ce90d536354b859ef33d0962c5fa0f" data-width="1460" data-height="1382">Substance Painterでの画像（背面） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/b96f3088a1844a3baa1a20ac4081024e2-6-2.jpg" alt="b96f3088a1844a3baa1a20ac4081024e" class="custom-image original-size" data-id="b96f3088a1844a3baa1a20ac4081024e" data-width="1458" data-height="1388"><hr>MarvelousDesignerをリアルタイム環境で使う場合は、先の工程を意識しながら制作を進めることが重要です。

[JP] Lura: バーチャルリアリティーにおける快適な空間デザイン

Hi there CLO Team,I noticed there have been a few threads where people are asking how to export a CLO3D Avatar with a native CLO3D Animation including textures, and import the CLO3D Avatar with Animation and Textures into Blender.Also, here a CLO team member mentioned:<blockquote>-You can export an Alembic(OGAWA) to have the animation of the avatar + garment. Textures will be missing and you have to add them later in the 3rd party software.-You can export a gLTF 2.0 (GLTF) to have the garment animation + textures. <a target="_blank" rel="noopener noreferrer nofollow" href="https://support.clo3d.com/hc/en-us/community/posts/4407342113945/comments/4407493415577">https://support.clo3d.com/hc/en-us/community/posts/4407342113945/comments/4407493415577</a></blockquote>I have tried to export a CLO3D Avatar with an applied Animation (via .mtn applied) as OGAWA (.alembic) file multiple times, but when importing the .abc file into Blender, unfortunately the exported 3D object doesn't come with unwrapped UV's and materials at all, so unwrapping becomes a very hard and tedious task if one wants to reuse the original textures. Please correct me if I am missing something.Therefore I was wondering if you have a tutorial video or advice on best practice how to solve this part "Textures will be missing and you have to add them later in the 3rd party software."?The alternative workflow that works for me would be to use an external animation via Mixamo as I've explained in this quick tutorial here:<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/p/DCrPyLGO7qC/">https://www.instagram.com/p/DCrPyLGO7qC/</a>I have an existing garment simulation with a native CLO3D Avatar Animation which I would like to keep, therefore I am asking before having to redo the process with the alternative workflow, going via Mixamo.Many thanks in advance and I'm looking forward to your feedback!

Export CLO3D Avatar Animation with Textures to Blender 4.0

<h2 style="text-align: center">Artist Mendy BM reimagines Tuxingsun from Investiture of the Gods with Marvelous Designer, bringing every stitch and detail of the costume to life.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/94e2c64fffd44e43bae3e53e056e16e2Tx_mendy-bm-skin-color.jpg" class="custom-image original-size" data-id="94e2c64fffd44e43bae3e53e056e16e2" data-width="2048" data-height="2040"><h1 style="text-align: center">Interview with Mendy BM | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/V28Jk8">Tuxingsun</a>﻿ | Game Character Artist</h1><hr><h1>Could you please introduce yourself to the Marvelous Designer community members?</h1>Hi everyone! I'm Mendy BM, game character artist from Brasil, based in Spain. I started my professional career creating modular digital humans for medical learning, and since 2022, I've been working in the game industry, creating fantasy characters and creatures for games.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/c150fb25bbe144929c0d906351c131fe1_mendy-bm-Dark-Elf.jpg" class="custom-image original-size" data-id="c150fb25bbe144929c0d906351c131fe" data-width="1730" data-height="1730"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/e3413a1a2205468aa386c517f4e6fad01_mendy-bm-mendybm-ecorche.jpg" class="custom-image original-size" data-id="e3413a1a2205468aa386c517f4e6fad0" data-width="1280" data-height="1707"><h1>Please tell us about the project. What inspired you to choose Tuxingsun from the Chinese literature Investiture of the Gods as your project?</h1>Since the beginning of my career, I've been following <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/tianhuaxu">Xu Tianhua</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/yangqi917">Yang Qi</a>. Their work is a great inspiration for me. "Tuxingsun" concept made by Xu Tianhua, always caught my attention with his little body and unique face features. At the research stage, to know more about the backstory of the character, I found John Zhu's Chinese Lore Podcast, where he retells classic Chinese literature in English, and I fell in love with it. China has a millenary culture, which has many of the biggest inventions in the humankind history, and I'm very interested to know more, especially about their art.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/2d3da966582b434784dd157086d20d2f1_mendy-bm-Tuxingsun.jpg" class="custom-image original-size" data-id="2d3da966582b434784dd157086d20d2f" data-width="2048" data-height="2048"><h1>How did Marvelous Designer assist you in realizing the vision for Tuxingsun's costume? Did you use any specific features or techniques that helped bring authenticity to the fabric and clothing design?</h1>I started the Tuxingsun project to familiarize myself with Marvelous Designer and I found incredible the possibility to work with sewing patterns, like is done in real-life cloth industry. Also, being able to work on the 2D pattern window and see the changes in real time, at the 3D window, is something extremely handy and powerful for recreating cloth designs. Additionally, there are a great number of fabric presets available, experimenting with it is so important to bring authenticity to the fabric, as well as finding the right pattern for it.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/152355aa363e4e66b69ef467e385827cTx_mendy-bm-camisa2.jpg" class="custom-image original-size" data-id="152355aa363e4e66b69ef467e385827c" data-width="1920" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/aa8be76704134d2b83b764b1fa19a134Tx_mendy-bm-pano1.jpg" class="custom-image original-size" data-id="aa8be76704134d2b83b764b1fa19a134" data-width="1920" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/8014037f03ee4f9db2e546bbb932a485Tx_mendy-bm-front.jpg" class="custom-image original-size" data-id="8014037f03ee4f9db2e546bbb932a485" data-width="1920" data-height="1920"><h1>Can you give us a quick overview of the different tools used in your pipeline?</h1>When I start a project, I spend a good amount of time finding good references, then, I use PureRef to make the reference board, selecting just a few images on each topic.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/aa7777cfe41e41869d56b0a7041ec0a84_PureRef_Tuxingsun.jpg" class="custom-image original-size" data-id="aa7777cfe41e41869d56b0a7041ec0a8" data-width="1478" data-height="942">After that, I go to Zbrush, to sculpt the character's and prop's basic shapes, with all my attention on proportions and silhouette. On personal projects, at this stage, I make pauses every now and then, to rest the eyes and be able to see clearer the results I'm getting, furthermore I often use Krita to make "correction" drawings on screenshots of Zbrush.Once I got a result I'm happy with, I moved forward to create the garments at Marvelous Design, taking advantage of its incredible cloth simulation power. After that I returned to Zbrush, and created the high poly version of everything, refined some folds and added all the details.Following, I used 3D Max to create the low poly version of the character and then imported it on RizomUV to work on the UVs. Finally, on Adobe Substance Painter, imported the lowpoly, and did the bakes and textures for the whole character. For rendering and final testing, I tend to use Marmoset Toolbag and Unreal 5.<h1>What challenges did you face during the creation process, and how did you overcome them?</h1>For me it was the number of layers, making the garment without the pieces intersecting with each other was complicated and the "freeze" tool was very important to overcome this challenge. I had to freeze and unfreeze the cloth elements many times, going back and forward, activating the simulation to create the folds that I wanted, and simultaneously, trying to maintain the elements hierarchy.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/d2786d02057c4077b7888f4f1663f2d55_Tuxingsun_steps.jpg" class="custom-image original-size" data-id="d2786d02057c4077b7888f4f1663f2d5" data-width="1478" data-height="942"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/21c4cbc7118945b1919b48da2a28a50f5_marvelous_capture2.jpg" class="custom-image original-size" data-id="21c4cbc7118945b1919b48da2a28a50f" data-width="1920" data-height="960"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/fdd29bc8a6c1444983e819de713f3f625_marvelous_capture1.JPG" class="custom-image original-size" data-id="fdd29bc8a6c1444983e819de713f3f62" data-width="1920" data-height="960">Also, when I created the patterns, the cloth was small on Tuxingsun's body. Because of that, I had to "add more fabric" and this broke the hierarchy. So to avoid this, when I started over, I used a high particle distance to get the shapes, then I changed to a lower value and used many pins to simulate it and create the desired folds again.In summary, to maintain the hierarchy, the freeze and unfreeze features, in conjunction with the pins, were my best friends in this project. This was the most time-consuming part of the work.<h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1>The first tip: take your time to find patterns, this will save you a lot of time. Even though it's difficult and frustrating to find patterns on the internet, humans have started to create garments since ancient times; take the time to find them. Second tip: don't forget to use symmetry. <img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/35f034d2d9f14fbbb097bc6ee02364be6_Tuxingsun%20process_translucent.jpg" class="custom-image original-size" data-id="35f034d2d9f14fbbb097bc6ee02364be" data-width="1920" data-height="960">Third: when you have as many pins as I had, the translucent mode is very useful. In addition, more a feature than a trick, use the soft body simulation, it's an incredible feature that considers the elastic aspect of the skin.<h1>How can you describe your overall experience of the use of the Marvelous Designer?</h1>It's amazing, the software is very intuitive, and the interface is truly user-friendly. Nowadays it is the best software option to create 3D garments in the industry.<h1>by&nbsp;Mendy BM <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/mendybm">Artstation</a></h1>

Tuxingsun - A Fusion of Inspiration and Chinese Lore

Gender & Age

Style

Genre & Mood

Objective

Garment

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/bad56517d19047e491facd34407b5cd0Eduardo_square.png" class="custom-image hidden-thumbnail" data-id="bad56517d19047e491facd34407b5cd0" data-width="1654" data-height="1654">For Eduardo, fabric is never just fabric; it is the living protagonist of his art. This 3D artist skillfully employs Marvelous Designer to bridge digital textiles with his powerful 2D illustrations. Delve into "Death is a Beginning"—his striking reinterpretation of La Lotería's iconic card La Muerte (‘Death’), where the ethereal drape is precisely crafted to guide the viewer's eye through a profound narrative of rebirth.</h2><hr><h1 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/7adf6a1674204bcf96463df9d583cccdeduardo-gala-artstation-01.jpg" alt="7adf6a1674204bcf96463df9d583cccd" class="custom-image original-size" data-id="7adf6a1674204bcf96463df9d583cccd" data-width="651" data-height="1000">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/eddgala">Eduardo Gala </a>| <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/NqVNBJ">Death is a Beginning</a> | 3D Artist &amp; Illustrator</h1><hr><h1>Could you start by introducing yourself and the core idea behind this artwork?</h1>I am a 3D artist and illustrator, and I truly enjoy using Marvelous Designer to achieve more refined and realistic fabric details in my illustrations. The software allows me to simulate natural elements such as wind, which brings greater credibility and dynamism to my characters.&nbsp; I am currently working on a series of illustrations inspired by a traditional Mexican game called La Lotería. One of its iconic cards is La Muerte (‘Death’).<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/61b733552d8c4d44b46a05bc75bdb85cimage.png" alt="61b733552d8c4d44b46a05bc75bdb85c" class="custom-image original-size" data-id="61b733552d8c4d44b46a05bc75bdb85c" data-width="460" data-height="689">If you look at the original card, it depicts a simple skeleton holding a scythe. For my reinterpretation, I wanted to give it a deeper meaning.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/795f86748bea48fab50291d23294ab78image.png" alt="795f86748bea48fab50291d23294ab78" class="custom-image original-size" data-id="795f86748bea48fab50291d23294ab78" data-width="403" data-height="566">To me, death does not represent the end of a story, but rather the beginning of something new. I believe in the idea of reincarnation, and that life is made of experiences we are meant to live and learn from. My illustration reflects that belief: it portrays a character who is about to reincarnate into a new version of themselves.<h1>The composition is very powerful. Could you walk us through your thought process for creating this specific scene?</h1>For this piece, I used a centered composition surrounded by arches of cempasúchil flowers. In Mexico, we celebrate the Day of the Dead on November 2nd, and we decorate the graves of our loved ones with altars made of cempasúchil, similar to what many people saw in the film Coco.<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/99da41eba3a44e09a9574e5a3c0b7ad1image.png" alt="99da41eba3a44e09a9574e5a3c0b7ad1" class="custom-image original-size" data-id="99da41eba3a44e09a9574e5a3c0b7ad1" data-width="546" data-height="775"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/9eba50f0c0a84a1fb0117f2a9f12bc1byellow-flower-with-background-yellow-flowers-out-focus.jpg" alt="9eba50f0c0a84a1fb0117f2a9f12bc1b" class="custom-image original-size" data-id="9eba50f0c0a84a1fb0117f2a9f12bc1b" data-width="5472" data-height="3648">For the character of Death, I dressed her in black to symbolize mourning, while the new soul is dressed in white to represent a beginning. The dress of Death dissolves into butterflies, which then start to form the body of the new soul.<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/f73b72ccda214313b7767eb9d690937beduardo-gala-artstation-02.jpg" alt="f73b72ccda214313b7767eb9d690937b" class="custom-image original-size" data-id="f73b72ccda214313b7767eb9d690937b" data-width="744" data-height="1000"><h1>What role did Marvelous Designer play in the creation of this artwork? Which elements were designed using Marvelous Designer?</h1>I always plan my compositions in Unreal Engine, which requires a 3D mesh that I can integrate into the software. Marvelous Designer allows me to arrange the fabrics, experiment with wind simulations, and even adjust the type of material, giving me more creative control.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/9e1f4a97e01e47869e219b3189cb2bc9Eduardo%20Recording_MD1.gif" alt="9e1f4a97e01e47869e219b3189cb2bc9" class="custom-image original-size" data-id="9e1f4a97e01e47869e219b3189cb2bc9" data-width="1138" data-height="640"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/16c2c53ba7de4c8097dd30e6870532ffEduardo_wind2.gif" alt="16c2c53ba7de4c8097dd30e6870532ff" class="custom-image original-size" data-id="16c2c53ba7de4c8097dd30e6870532ff" data-width="1138" data-height="640"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/KYoRar_zIwQ?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>In this particular piece, I wanted the dress to appear as if it were dissolving, so I used wind simulation in Marvelous to achieve the initial effect. Later, when I moved the work into Photoshop, I refined the illustration by gradually disintegrating the dress using masks.&nbsp;<h1>Could you describe your process for creating this element inside Marvelous Designer?</h1>Previously, I worked as a character artist, and as many know, in that field fabrics needed to be perfectly clean and functional so that the character could later be textured and prepared for production.Now that I focus on illustration, I feel I have much more creative freedom. I can place and pose the fabrics, add objects so they adapt to very specific positions, and really experiment.That’s exactly what I did for this piece: I used wind simulation and manually adjusted the fabric until the folds appeared exactly where I wanted them to enhance the composition.<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/2aeb2bc7baa048d9978bc588532b668eeduardo-gala-muerte-sketch-02.jpg" alt="2aeb2bc7baa048d9978bc588532b668e" class="custom-image original-size" data-id="2aeb2bc7baa048d9978bc588532b668e" data-width="1920" data-height="2560"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/5c252f5868cc4904a6db50cf2240b29aeduardo-gala-muerte-sketch-01.jpg" alt="5c252f5868cc4904a6db50cf2240b29a" class="custom-image original-size" data-id="5c252f5868cc4904a6db50cf2240b29a" data-width="1920" data-height="2560"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/b2736b32351f4776ab2ad22413704f42eduardo-gala-muerte-sketch-08.jpg" alt="b2736b32351f4776ab2ad22413704f42" class="custom-image original-size" data-id="b2736b32351f4776ab2ad22413704f42" data-width="1920" data-height="1920"><h1>What were the biggest challenges you faced, and how did you overcome them?</h1>The most challenging part was controlling the level of detail in order to guide the viewer’s eye. I carefully arranged the fabric folds so they would work as visual guides leading toward the baby.Another challenge was figuring out how the dress would dissolve, but I ultimately resolved that within the final composition.<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/a06edf0697184326ba4621aa416f243bEduardo_transparent%20.png" alt="a06edf0697184326ba4621aa416f243b" class="custom-image original-size" data-id="a06edf0697184326ba4621aa416f243b" data-width="1164" data-height="614"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/773006817c304944aeec64b4e663f4ceEduardo_transparent2.png" alt="773006817c304944aeec64b4e663f4ce" class="custom-image original-size" data-id="773006817c304944aeec64b4e663f4ce" data-width="1160" data-height="642"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/66e0e92abb8b4b3da9399f8334233375eduardo_transparent3.png" alt="66e0e92abb8b4b3da9399f8334233375" class="custom-image original-size" data-id="66e0e92abb8b4b3da9399f8334233375" data-width="1162" data-height="592"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/010b7829eb844ff69ebd46608a6ce9b5eduardo_transparent%205.png" alt="010b7829eb844ff69ebd46608a6ce9b5" class="custom-image original-size" data-id="010b7829eb844ff69ebd46608a6ce9b5" data-width="1158" data-height="610"><h1>Are there any particular features in Marvelous Designer that you find indispensable for bringing your surreal and highly detailed character concepts to life?</h1>The wind, being able to pose the fabric in real time, and pins are my best friends in this process.<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/86718d4eeff54ed5808d14a450d296cdEduardo_Wind.gif" alt="86718d4eeff54ed5808d14a450d296cd" class="custom-image original-size" data-id="86718d4eeff54ed5808d14a450d296cd" data-width="1138" data-height="640"><h1>Could you give us an overview of your entire workflow for this piece?</h1><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/SyI4hIhyu0s?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><h1>How does your work in Marvelous Designer integrate with the rest of your 3D/2D pipeline?&nbsp;</h1>My characters usually require a large amount of fabric, and over time fabric has become the true protagonist of my work. I often design them with heavy robes that cover their bodies, and having precise control over how the garments are posed is essential for me.&nbsp;In my process, fabric plays a key role in guiding the viewer’s eye, so I need to direct it exactly where I want the audience to focus.&nbsp;This is why Marvelous Designer is more useful for me than other software, such as ZBrush, where I cannot preview results as quickly or make detailed adjustments to folds and wrinkles with the same efficiency.<img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/89c75f10b80948f29be1f50e28802e7ceduardo-gala-muerte-sketch-04.jpg" alt="89c75f10b80948f29be1f50e28802e7c" class="custom-image original-size" data-id="89c75f10b80948f29be1f50e28802e7c" data-width="1920" data-height="2560"><h1>What advice would you give to other artists who want to use Marvelous Designer not just for realistic clothing, but for creating fantastical and symbolic garments like the one in your piece?</h1>When illustrating, it’s crucial to have a clear vision of what you want to communicate with every element in the scene.If you are using Marvelous Designer to pose clothing, don’t think of the garments as just clothing, they can also guide the viewer’s eye and help describe your characters.That’s why it’s important to start with a sketch, marking the points where you want to direct attention, and then design the clothing based on that sketch.&nbsp;<h1>How would you describe your overall experience using Marvelous Designer?</h1>The software is very nice and intuitive; it's my favorite part of pre-production composition.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/eddgala">Artstation</a>

Fashion dress.

yezhu941

yezhu941