<h2 style="text-align: center">Discover how Turkish indie game developer <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/cubesugar">Ufuk Karapicak</a> uses Marvelous Designer to craft immersive 3D worlds brimming with imagination and storytelling.</h2><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/cd2c628798ae4658bbe789d6caad973eufuk-karapicak-bms-watervillage-55.jpg" alt="cd2c628798ae4658bbe789d6caad973e" class="custom-image original-size" data-id="cd2c628798ae4658bbe789d6caad973e" data-width="1920" data-height="1077"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/d7b79fce90e241d7bbf7b25b8cba1297ufuk-karapicak-bms-watervillage-3.jpg" alt="d7b79fce90e241d7bbf7b25b8cba1297" class="custom-image original-size" data-id="d7b79fce90e241d7bbf7b25b8cba1297" data-width="1920" data-height="799">My name is Ufuk Karapicak, and I’m an environment artist and indie game developer based in Turkey.I started out doing 2D concept art, but over time I became more and more curious about 3D. That curiosity first led me into 3D concept art, and eventually into game art, where I found the perfect space to combine imagination, storytelling, and technical creation.Now, as an indie developer, I focus on building my own worlds, places that feel alive and carry emotion through design.What motivates me the most is the idea of inspiring others — to show that even as a single artist, it’s possible to bring your vision to life and maybe spark the same motivation in someone else. Art and games have always given me strength; I hope what I create can give a little of that back.<h1>How did you use Marvelous Designer in the artwork?</h1>In this project, which I worked on while I was part of Big Medium Small, the concept by Kay Tang depicted a world where people live side by side with water — everything around them is shaped by moisture, wind, and time.To capture that feeling, I used Marvelous Designer to create all the fabric-related elements in the scene: rice sacks piled on boats, tarps stretched over wooden surfaces, and scattered pieces of worn cloth.<img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/0ad81cd60e5a48cd97083e472a1e9322ufuk-karapicak-bms-watervillage-43.jpg" alt="0ad81cd60e5a48cd97083e472a1e9322" class="custom-image original-size" data-id="0ad81cd60e5a48cd97083e472a1e9322" data-width="1920" data-height="1077"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/c25f93ac1fa74274bd2e6d6889452c2cimage%20%289%29.png" alt="c25f93ac1fa74274bd2e6d6889452c2c" class="custom-image original-size" data-id="c25f93ac1fa74274bd2e6d6889452c2c" data-width="2203" data-height="1248"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/2382de218c8a4626bb97eadedff5a51dufuk-karapicak-bms-watervillage-7.jpg" alt="2382de218c8a4626bb97eadedff5a51d" class="custom-image original-size" data-id="2382de218c8a4626bb97eadedff5a51d" data-width="1920" data-height="1077">Each fabric had to feel lived in, not just physically accurate, but emotionally believable.I imagined how these people might have reused the same materials over years; some fabrics looked freshly replaced, while others carried dirt, folds, and wear from long use.Marvelous Designer allowed me to express those subtle differences with real motion and natural imperfections.Sculpting them by hand wouldn’t have captured that sense of history — Marvelous let me design through movement, as if I were watching the fabrics live in the world I was creating.<h1>Why did you decide to use Marvelous Designer? How did it help you serve art direction?</h1>I chose Marvelous Designer for this project because it combines precision with creativity in a way that no other tool does. &nbsp;Over the years, I’ve realized how much freedom it gives me — not only to simulate cloth accurately, but to design through simulation. &nbsp;It naturally encourages a procedural mindset— I’m not just modeling shapes, I’m discovering them through motion, gravity, and tension. &nbsp;That way of working keeps the creative process fluid and open to new ideas.<img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/372bb59554e34975844bf1410f98ec33image%20%2853%29.png" alt="372bb59554e34975844bf1410f98ec33" class="custom-image original-size" data-id="372bb59554e34975844bf1410f98ec33" data-width="1600" data-height="1069">One of the biggest advantages for me is how easily I can respond to feedback. &nbsp;Marvelous Designer allows extremely fast iteration — I can test, adjust, and see the results almost instantly, which makes the art direction process much more organic. &nbsp;It helps me focus on form, proportion, and flow rather than getting stuck in technical constraints.<img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/600f3247e6f2428bbb59a7f82ca736c2image%20%2857%29.png" alt="600f3247e6f2428bbb59a7f82ca736c2" class="custom-image original-size" data-id="600f3247e6f2428bbb59a7f82ca736c2" data-width="1589" data-height="966"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/cb39b22e3bd043d19c7054c533a5c644image%20%286%29.png" alt="cb39b22e3bd043d19c7054c533a5c644" class="custom-image original-size" data-id="cb39b22e3bd043d19c7054c533a5c644" data-width="1294" data-height="962"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/4aeb98eb0ed545e7880bc777e55d6c2dufuk-karapicak-bms-watervillage-18.jpg" alt="4aeb98eb0ed545e7880bc777e55d6c2d" class="custom-image original-size" data-id="4aeb98eb0ed545e7880bc777e55d6c2d" data-width="1920" data-height="1077">And then there are those happy accidents — when the fabric behaves unexpectedly but beautifully. &nbsp;Those moments often inspire new artistic directions. &nbsp;Marvelous Designer gives me both speed and depth: I can work like a designer, but think like a storyteller. &nbsp;That balance is what keeps me using it in every project.<h1>Do you have any other projects that you have worked on using Marvelous Designer that you can share with us?</h1><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/c708beb932744196b642a04d8c89229bufuk-karapicak-mysticscene-low.jpg" alt="c708beb932744196b642a04d8c89229b" class="custom-image original-size" data-id="c708beb932744196b642a04d8c89229b" data-width="1920" data-height="985"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/861639a2f0024939b5e69f628e1fd68dufuk-karapicak-artnouveupetshopsmallsize.jpg" alt="861639a2f0024939b5e69f628e1fd68d" class="custom-image original-size" data-id="861639a2f0024939b5e69f628e1fd68d" data-width="1920" data-height="1080">Before this project, I had been using Marvelous Designer for years in my concept art and illustration work. &nbsp;I often built 3D blockouts, draped clothes on Daz3D models or my own rigs, and painted over them. &nbsp;It helped me quickly find shapes and silhouettes that felt alive — almost like painting in 3D. &nbsp;Those experiments taught me how much Marvelous Designer could serve creativity, not just realism.<img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/05deb1f6178e4092bcd860d83e6258f5ufuk-karapicak-scene-01-02.jpg" alt="05deb1f6178e4092bcd860d83e6258f5" class="custom-image original-size" data-id="05deb1f6178e4092bcd860d83e6258f5" data-width="1920" data-height="944"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/da9d39f870274cd98f1c0d30c127451fufuk-karapicak-centercompfin-03.jpg" alt="da9d39f870274cd98f1c0d30c127451f" class="custom-image original-size" data-id="da9d39f870274cd98f1c0d30c127451f" data-width="1920" data-height="1148">Now, as an indie game developer, I plan to explore it much more deeply — using advanced simulations, complex setups, and character-based storytelling.<h1>Can you give us a quick overview of the different tools used in your pipeline?</h1>In most of my 3D projects, I use Marvelous Designer, Blender, ZBrush, Substance Painter, and Substance Designer as my main tools. &nbsp;There isn’t always a fixed order — I follow the general workflow you’d expect, but I also move between programs depending on what the project needs.If I’m creating an illustration, I sometimes use Daz3D for quick posing, or I rig and animate directly in Blender. &nbsp;I often export certain poses from Blender into Marvelous Designer to run different fabric simulations, then bring the results back into Blender for rendering. &nbsp;In some cases, I even turn the fabrics I make in Marvelous Designer into brush alphas for sculpting in ZBrush or texturing in Substance Painter.I really enjoy this fluid workflow because it lets me use each software for what it does best — Marvelous Designer for believable forms and motion, ZBrush for detail, Substance for materials, and Blender or Unreal for lighting and presentation.<h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/11ae02031774443f8924a49938530500ufuk-karapicak-bms-watervillage-38.jpg" alt="11ae02031774443f8924a49938530500" class="custom-image original-size" data-id="11ae02031774443f8924a49938530500" data-width="1920" data-height="1077"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/be9a14fd8752419f9c536985c39d7e7eimage%20%287%29.png" alt="be9a14fd8752419f9c536985c39d7e7e" class="custom-image original-size" data-id="be9a14fd8752419f9c536985c39d7e7e" data-width="1810" data-height="1194"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/383c97f1adbf43e58b7d43aa310f997aimage%20%2811%29.png" alt="383c97f1adbf43e58b7d43aa310f997a" class="custom-image original-size" data-id="383c97f1adbf43e58b7d43aa310f997a" data-width="2401" data-height="1148"><img src="https://storagefiles.clo-set.com/public/community/202510/db9eacf6ce2740f5b4f89940d0548bee/images/4cb351a40ace48fa9cea963d962ca8edimage%20%2812%29.png" alt="4cb351a40ace48fa9cea963d962ca8ed" class="custom-image original-size" data-id="4cb351a40ace48fa9cea963d962ca8ed" data-width="1223" data-height="1196">I’m not an expert, but I’d like to share something that really helped me — especially for beginners.When I first started using Marvelous Designer, I was honestly scared of breaking things.I kept my designs very simple and avoided pushing the simulation too far.But later, I began to experiment more — I exaggerated folds, pushed the limits of the simulation, and stopped worrying about being “correct.”That’s when I truly started to learn.Marvelous Designer became much more fun and expressive once I let go of that fear.I hope this helps someone who’s just starting out — don’t be afraid to play with it. That’s how you discover what makes it powerful.<h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/cubesugar">Artstation</a></h1>

Beyond Realism: From 2D Concept to Immersive 3D Environments with Marvelous Designer

gown

FV2 Round-Collar Pintuck-Pleated Dress

Female Dress

pants

FV2 Retro Style Cocktail Party Swing Dress

FV2 Pullover Collar Dress

dress

white dress

Dress

flame top and skirt

maslo dress

FV2 Athletic Dress

Maral3dstudio

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

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

Making An Armor In Marvelous Designer: Breaking Boundaries

Collection A

Dead But Pretty

Hallowen Day

T-Shirt, Hoodies & Co

F OffShoulder Denim Set

Look_05

Frilled Ribbon Bikini Set

<hr><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/72d7f24642824a598db3bfa1249f2574%E9%AD%94%E7%8E%8B%E9%98%BF%E7%B1%B3%E5%A8%85.jpg" alt="72d7f24642824a598db3bfa1249f2574" class="custom-image original-size" data-id="72d7f24642824a598db3bfa1249f2574" data-width="4000" data-height="1713">In character illustration, clothing is more than visual decoration. It affects a character's movement, material expression, visual depth, and the overall mood of the image.Illustrator <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5af06707db2e600283b2ffd3?xsec_token=ABX4egR0ayT1owObWsVpTJhkUCcT_rOD4InRUFSxzXPxM%3D&amp;xsec_source=pc_search">Luobu</a> specializes in anime-style character illustration. Her work often features a semi-realistic atmosphere, strong lighting, dynamic poses, and elaborate costume design. In her workflow, 3D tools are not a replacement for drawing. They help her understand structure, space, and fabric behavior more accurately.In this interview, we spoke with Luobu about how she brings Marvelous Designer into her 2D illustration workflow, including real-world garment experience, 3D base models, garment patternmaking, animation simulation, and final 2D refinement.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/8b5f2f2dbabe4e0db3d8963cf29f0c78%E7%BB%86%E5%8C%961.jpg" alt="8b5f2f2dbabe4e0db3d8963cf29f0c78" class="custom-image original-size" data-id="8b5f2f2dbabe4e0db3d8963cf29f0c78" data-width="4000" data-height="1715"><hr><h1>To start, could you introduce yourself and the creative direction you usually focus on?</h1>Luobu: Hi everyone, I'm Luobu, an illustrator.I enjoy creating anime-style character illustrations. I am especially drawn to images with a semi-realistic atmosphere and strong lighting, as well as dynamic character poses and elaborate costume designs.In character design and illustration, I usually use 3D software to support my 2D painting process. It helps me handle space, garment structure, and lighting relationships with more stability.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/f0fd4b0cc99a4551bab0dfccd34f4567zl1.jpg" alt="f0fd4b0cc99a4551bab0dfccd34f4567" class="custom-image original-size" data-id="f0fd4b0cc99a4551bab0dfccd34f4567" data-width="3648" data-height="6000"><h1>You also have experience with cosplay. How has making or wearing clothing in real life helped you understand clothing in digital painting?</h1>Luobu: Making clothing in real life gives me a more intuitive understanding of garment styles, structure, and patternmaking.It also helps me understand the properties of different fabrics, such as weight, sheen, and elasticity. That experience supports me in two ways. On one hand, when I build clothing models in 3D software, I can judge the structure more quickly. On the other hand, when I paint in 2D, I have a clearer sense of why folds form, how they flow, and how different material textures should be rendered.<h1><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/27c07cf90a8e41ea9b1d1e18dcab6f43teres.jpg" alt="27c07cf90a8e41ea9b1d1e18dcab6f43" class="custom-image original-size" data-id="27c07cf90a8e41ea9b1d1e18dcab6f43" data-width="3000" data-height="6000"></h1><h1>Many 2D illustrators feel that 3D comes with a learning curve. What first made you decide to bring 3D tools into your illustration workflow?</h1>Luobu: When I was first learning to draw, I was not very confident with illustrations involving perspective or complex scenes.At the time, I learned that some illustrators were using 3D software to build more complex scene compositions before painting. That became the starting point for me. I began learning 3D software and gradually brought it into my own workflow.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/81dd02d7021d4fbfb5d2e24eab7d7fd4%E9%A2%86%E4%B8%BB.jpg" alt="81dd02d7021d4fbfb5d2e24eab7d7fd4" class="custom-image original-size" data-id="81dd02d7021d4fbfb5d2e24eab7d7fd4" data-width="1750" data-height="3500"><h2>What does your usual 2D + 3D workflow look like now?</h2>Luobu: My current workflow is roughly: sketch -&gt; 3D base human model -&gt; garment creation in Marvelous Designer -&gt; scene props and set pieces in 3D software -&gt; lighting and rendering -&gt; final 2D refinement.In this process, different software tools need to work together. Some tools can be connected through bridge plugins. When there is no bridge plugin available, I use common model formats such as OBJ or FBX files. I also keep the scale units consistent across programs, which makes it more stable to move between different tools.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/737e0714b00c401eb19e5cd22b0d61abmain11%20s.jpg" alt="737e0714b00c401eb19e5cd22b0d61ab" class="custom-image original-size" data-id="737e0714b00c401eb19e5cd22b0d61ab" data-width="5000" data-height="2143"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/961d325c9a8941cc9e92c6e4588771d3out%202.png" alt="961d325c9a8941cc9e92c6e4588771d3" class="custom-image original-size" data-id="961d325c9a8941cc9e92c6e4588771d3" data-width="3500" data-height="1500"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Pnx76q2e1tE" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h2>You often share your process of building 3D garments by hand. What does Marvelous Designer help you with in garment creation?</h2>Luobu: I usually begin by sketching the full illustration and deciding the character's pose, clothing style, and the general motion of the garment.After that, I use Marvelous Designer to create the garment patterns and dress the clothing on the character model. With Marvelous Designer's animation simulation features, I can simulate the dynamic shape of the garment. This process can produce highly realistic garment folds and physical simulation effects.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/545b976ad46d4b6b85b79e499c597b77erk2.jpg" alt="545b976ad46d4b6b85b79e499c597b77" class="custom-image original-size" data-id="545b976ad46d4b6b85b79e499c597b77" data-width="1575" data-height="3500"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/vmzqrNUL7Jo" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h2>In 2D painting, artists often rely on imagination to work through complex folds. After using Marvelous Designer, how has it influenced your 2D rendering?</h2>Luobu: Marvelous Designer's cloth simulation can create very realistic and delicate folds. It can also simulate physical collisions between fabric and objects such as the floor, tables, and chairs.For later 2D rendering, these results give me useful references for form and for separating light and shadow. I do not copy the simulation results directly. Instead, I organize and simplify them, then translate them into clothing details that suit the final image.In that sense, it helps me quickly establish the overall movement and shape of the garment, while also improving my efficiency during the final refinement stage.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/5b16ce6a84e644288b93e846c96b9826xingyuan1.jpg" alt="5b16ce6a84e644288b93e846c96b9826" class="custom-image original-size" data-id="5b16ce6a84e644288b93e846c96b9826" data-width="3000" data-height="1687"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/42fbbd0d10ff4c789bc9c8504a7635aareed.png" alt="42fbbd0d10ff4c789bc9c8504a7635aa" class="custom-image original-size" data-id="42fbbd0d10ff4c789bc9c8504a7635aa" data-width="3500" data-height="1499"><h1>Would you recommend 3D tools to artists who are still working in a traditional 2D workflow?</h1>Luobu: If an artist needs to paint more realistic clothing, environments, or atmospheric lighting, I would recommend bringing 3D tools into the workflow.For beginners, I suggest first building a simple workflow, such as base model -&gt; clothing model -&gt; scene render -&gt; painting. You do not need to learn many software tools at once. Start with one tool, understand its basic functions, and build from there.Taking it one step at a time makes the learning process more gradual, and makes it easier to truly integrate the tools into your own creative workflow.<hr>From real-world garment experience to garment patternmaking and cloth simulation in Marvelous Designer, and finally to 2D refinement, Luobu's workflow offers a useful approach for illustrators: use 3D tools to establish structure and physical logic, then return to 2D painting for the final artistic interpretation.In this workflow, 3D is not a replacement for drawing. It is a more stable and intuitive reference system. It helps artists see folds, gravity, material, and spatial relationships more clearly, making clothing in character illustration feel more believable, layered, and alive.<hr><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/82ab1cc7e6ea4eedb0a714e1c0bf8025bmx.jpg" alt="82ab1cc7e6ea4eedb0a714e1c0bf8025" class="custom-image original-size" data-id="82ab1cc7e6ea4eedb0a714e1c0bf8025" data-width="2000" data-height="3000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/29943df72bab47cc97a219f351c73e87%E9%AD%94%E7%8E%8B%E9%98%BF%E7%B1%B3%E5%A8%85.jpg" alt="29943df72bab47cc97a219f351c73e87" class="custom-image original-size" data-id="29943df72bab47cc97a219f351c73e87" data-width="4000" data-height="1713"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/3105d52a2d914aeb9676a8286e73c6aesaki%20%E7%BB%88%20%E6%8B%B7%E8%B4%9D.png" alt="3105d52a2d914aeb9676a8286e73c6ae" class="custom-image original-size" data-id="3105d52a2d914aeb9676a8286e73c6ae" data-width="1857" data-height="3300"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/421ea98f37bb4b77a459b5a2e9946b33mr1.png" alt="421ea98f37bb4b77a459b5a2e9946b33" class="custom-image original-size" data-id="421ea98f37bb4b77a459b5a2e9946b33" data-width="1625" data-height="2600"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/d88d0d622a5643d3b9fa4bf7be0eefd8mami2.png" alt="d88d0d622a5643d3b9fa4bf7be0eefd8" class="custom-image original-size" data-id="d88d0d622a5643d3b9fa4bf7be0eefd8" data-width="1900" data-height="2850"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/df63c165446341858480d78c59d80a4cange.jpg" alt="df63c165446341858480d78c59d80a4c" class="custom-image original-size" data-id="df63c165446341858480d78c59d80a4c" data-width="1969" data-height="3500"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/94b95f104a9b4d6a9fb07261f9df5050yasu.jpg" alt="94b95f104a9b4d6a9fb07261f9df5050" class="custom-image original-size" data-id="94b95f104a9b4d6a9fb07261f9df5050" data-width="2000" data-height="4000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/736c4a6ad70d488c80c4f72c408d153d%E5%9B%BE%E5%83%8F1%20%E6%8B%B7%E8%B4%9D.jpg" alt="736c4a6ad70d488c80c4f72c408d153d" class="custom-image original-size" data-id="736c4a6ad70d488c80c4f72c408d153d" data-width="1800" data-height="4000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/16dee19d8ed44deeb0ae47b91582b58f%E6%88%90%E5%9B%BE1.jpg" alt="16dee19d8ed44deeb0ae47b91582b58f" class="custom-image original-size" data-id="16dee19d8ed44deeb0ae47b91582b58f" data-width="3000" data-height="6000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/b7612bfd45004ed88e0489322ea98bea%E7%9D%A6%E8%8E%AB.jpg" alt="b7612bfd45004ed88e0489322ea98bea" class="custom-image original-size" data-id="b7612bfd45004ed88e0489322ea98bea" data-width="1969" data-height="3500"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/6f86e2360150409fbaa404cfcb7445c41.jpg" alt="6f86e2360150409fbaa404cfcb7445c4" class="custom-image original-size" data-id="6f86e2360150409fbaa404cfcb7445c4" data-width="3500" data-height="1969"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/4b2e89dcdfb345e0b44f7b88760a66f31%202.jpg" alt="4b2e89dcdfb345e0b44f7b88760a66f3" class="custom-image original-size" data-id="4b2e89dcdfb345e0b44f7b88760a66f3" data-width="3000" data-height="1286">

Making Fabric Folds Make Sense: Illustrator Luobu on Her 2D + 3D Workflow

So, Adobe finally updated the Substance plugin - yay! Except, I'm having a major issue with materials on geometry cache garments. The character without the shadow is wearing a 5.7 LiveSync garment. The other character has a garment from prior to 5.6. Notice that not only does the 5.7 garment not have a shadow, it's also kind of glowing. The result is the same whether I import it with Translucency or Opacity mask. I have no idea what I'm doing wrong. Is anyone else experiencing this? Thanks.<img src="https://storagefiles.clo-set.com/public/community/202601/d688f1691a404942ba84468a216b8d07/images/18634a23916d4924968507c1d194252dMD_LiveSync_issue.png" alt="18634a23916d4924968507c1d194252d" class="custom-image original-size" data-id="18634a23916d4924968507c1d194252d" data-width="3178" data-height="1964">

LiveSync 5.7 - a little help, please? :)

Beyond Realism: From 2D Concept to Immersive 3D Environments with Marvelous Designer

Marvelous Designer Official

Marvelous Designer Official