Key Features: Format: .zse (compatible with CLO 3D / Marvelous Designer) Clean, minimal design with modern artistic elements High-quality lighting and color composition for professional renders Perfect for portfolio showcases, visual storytelling, or brand presentations This ready-made stage scene will save you time and give your garment visuals a refined, contemporary backdrop that speaks elegance and creativity.Product Link: <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/0f0bca446ec54d91a9c1a689b5450b49">https://connect.clo-set.com/detail/0f0bca446ec54d91a9c1a689b5450b49</a> To order or get in touch: 📩 Email:&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:3d.artist.ahani@gmail.com">3d.artist.ahani@gmail.com</a> 📱 Telegram: @arezu_ahani<img src="https://storagefiles.clo-set.com/public/community/202507/e8916c7b5ed5424fa4d9a946529c0614/images/3d4fb331d2f64469b1e77c0abc8cfdde03_Render_0.jpg" alt="3d4fb331d2f64469b1e77c0abc8cfdde" class="custom-image original-size" data-id="3d4fb331d2f64469b1e77c0abc8cfdde" data-width="4800" data-height="6400">

Minimalist turquoise blue stage set

荷叶边吊带连衣裙

Shoes

Designer

Sweet? Maybe. Soft? Never.This look is all about contradictions — a massive denim bow meets sleek flared pants and satin ribbon details. It’s girly with a side of don’t-mess-with-me. 💅✨The bow was built using layered internal lines and puff volume, giving it that bold sculptural shape without losing softness. The pants? High-waisted and full of movement, finished with contrast ties to break the structure.🧷 Made entirely in CLO 💙 Custom denim texture 🧶 Ribbon details mapped manually 🔥 Attitude level: maxed out<img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/662df291fc134edab583f56aa70e315c7.png" alt="662df291fc134edab583f56aa70e315c" class="custom-image original-size" data-id="662df291fc134edab583f56aa70e315c" data-width="1586" data-height="2820"><img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/4e58d5183a1d4606afcc4c7ec6177df35.png" alt="4e58d5183a1d4606afcc4c7ec6177df3" class="custom-image original-size" data-id="4e58d5183a1d4606afcc4c7ec6177df3" data-width="1049" data-height="1866"><img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/4e1f0626da154c11b1f2f55b757a9cec1.png" alt="4e1f0626da154c11b1f2f55b757a9cec" class="custom-image original-size" data-id="4e1f0626da154c11b1f2f55b757a9cec" data-width="1985" data-height="3660"><img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/fdef28f420844947beb3bdef828c84923.png" alt="fdef28f420844947beb3bdef828c8492" class="custom-image original-size" data-id="fdef28f420844947beb3bdef828c8492" data-width="1758" data-height="3126"><img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/19652ae76ffa4d5cb3fc7ecdbc480dc96.png" alt="19652ae76ffa4d5cb3fc7ecdbc480dc9" class="custom-image original-size" data-id="19652ae76ffa4d5cb3fc7ecdbc480dc9" data-width="997" data-height="1772"><img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/c4919f004db747eabba62478d50a35574.png" alt="c4919f004db747eabba62478d50a3557" class="custom-image original-size" data-id="c4919f004db747eabba62478d50a3557" data-width="770" data-height="1368"><img src="https://storagefiles.clo-set.com/public/community/202507/61c6376703744f08b19f4f2570018732/images/50c8216b900c4bf48affc025845afe1a2.png" alt="50c8216b900c4bf48affc025845afe1a" class="custom-image original-size" data-id="50c8216b900c4bf48affc025845afe1a" data-width="1827" data-height="3289">

🎀 Blue Ribbon Rebel

I have just updated to the latest CLO version 2025.0.128 and having issues with exports. It's not showing the full width of the export when exporting as OBJ, then when exporting as GLB it shows a black infill. Has anyone else had a similar issue? <img src="https://storagefiles.clo-set.com/public/community/202504/7bc94c551ab74316b6505d5af168ea1c/images/5be33cd2308e4c55b84a553fbdd3a510CLO%20issues.png" alt="5be33cd2308e4c55b84a553fbdd3a510" class="custom-image original-size" data-id="5be33cd2308e4c55b84a553fbdd3a510" data-width="2119" data-height="1123"><img src="https://storagefiles.clo-set.com/public/community/202504/7bc94c551ab74316b6505d5af168ea1c/images/252c8489a73d4f1eaff047a37af6391bCLO%20issues%20CLO3d%20screen.png" alt="252c8489a73d4f1eaff047a37af6391b" class="custom-image original-size" data-id="252c8489a73d4f1eaff047a37af6391b" data-width="1162" data-height="868"><img src="https://storagefiles.clo-set.com/public/community/202504/7bc94c551ab74316b6505d5af168ea1c/images/d0237c894cc147f3b2bccd7985270de4CLO%20issues%20GLB.png" alt="d0237c894cc147f3b2bccd7985270de4" class="custom-image original-size" data-id="d0237c894cc147f3b2bccd7985270de4" data-width="2623" data-height="1386">

OBJ and GLB Export Issues

<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

<h2 style="text-align: center">Discover how Henri Gatard (@hgat_art ) brought history to life in 3D with Marvelous Designer—creating cinematic, stylized characters in Victorian and Napoleonic attire.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/11ad8cfde22a4870809a48912fab272f%E5%A3%AB%E5%85%B51.png" class="custom-image original-size" data-id="11ad8cfde22a4870809a48912fab272f" data-width="2177" data-height="1628"><h1 style="text-align: center">Interview with Henri Gatard | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/hgat_art">Character Art Direction</a> | 3D Artist</h1><hr><h1>Artist Introduction</h1>I'm Henri Gatard, 23, Character Surfacing Artist at Gaumont in Paris and previously at Mathematic Studios. I love creating characters for animation, from the 2D concept to the final cinematic image, through all the stages of creation. I love creating characters from different eras, so I can tell different stories and achieve a unique look for animated characters. For my final images, I really try not to create characters that simply remain in a T pose in a lookdev. I always pose them to get a cinematic shot, and bring them to life as they might look in a movie. If you want to know more, you can find it all on <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/hgat_art/">my Instagram</a>.<h1>Tell us about your project. What inspired it, and what are its main themes?</h1>My project is my participation in the Rookies Award 2024 where I created 5 stylized characters and two of them have clothes made with Marvelous Designer. For these two characters, the Victorian soldier and the Napoleonic soldier, I really wanted to push my character skills and create stylized characters with historically accurate clothing and achieve a cinematic look with them. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.therookies.co/entries/30202">Link to my projects</a><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/2ab77b0c529249f9922ffe53a3f0307a%E5%A3%AB%E5%85%B53.png" class="custom-image original-size" data-id="2ab77b0c529249f9922ffe53a3f0307a" data-width="4507" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/8f230f9f5c3b445a84d9ce132bf09bb6%E5%A3%AB%E5%85%B513.png" class="custom-image original-size" data-id="8f230f9f5c3b445a84d9ce132bf09bb6" data-width="5500" data-height="2340"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/cd7ca91153f84b1a8f21f8d77d7b048c%E5%A3%AB%E5%85%B514.png" class="custom-image original-size" data-id="cd7ca91153f84b1a8f21f8d77d7b048c" data-width="4507" data-height="1920"><h1>Why did you choose to use Marvelous Designer for this project? How did it help you achieve your art direction?&nbsp;</h1>I chose Marvelous Designer because it was the best software for creating accurate garments based on how they are made in real life. I had a lot of garment models and historical references, and withMarvelous I was able to be very efficient because the software is based on how a garment is made in real life. Marvelous Designer was therefore the only possible choice for being able to create garments quickly with precise folds compared to sculpting everything in ZBrush.<h1>Could you briefly walk us through the different tools and software used in your workflow?&nbsp;</h1>Character Modeling/Blocking : ZBrush, MayaCloth Modeling/Retopology : Marvelous Designer, MayaTexturing : Substance Painter/DesignerRigging : Maya, Advanced SkeletonLighting/Rendering : Maya, RedshiftCompositing : Photoshop and Nuke<h1>Could you explain the costume concepts of your characters in more detail? What specific elements did you focus on while designing the costumes in Marvelous Designer?</h1>For my character Victorian, this was my first Marvelous experiment in dressing a full-fledged character, so I kept it pretty simple. I made a long Victorian leech coat and classic pants. I wanted his outfit to be a bit classy but also marked by time. Here are my references.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/fad6989a3bae4027873414803af5a063henri%20.png" class="custom-image original-size" data-id="fad6989a3bae4027873414803af5a063" data-width="1000" data-height="1600">Sketches and First Concept<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/3f7f080bf74647de8df84d8425d1bc18%E5%A3%AB%E5%85%B57.png" class="custom-image original-size" data-id="3f7f080bf74647de8df84d8425d1bc18" data-width="496" data-height="649">In Marvelous Designer, I tried to focus on the overall shape and pattern, for this character I just had three different garments because I wanted to keep it simple for the first time in Marvelous Designer. So I tried to get something that looked good without being complex.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/0608292b507348529ae13673d93c10e2%E5%A3%AB%E5%85%B58.png" class="custom-image original-size" data-id="0608292b507348529ae13673d93c10e2" data-width="1548" data-height="1488">For the Napoleonic soldier, I tried to go further in the design and complexity of the fabric. So I chose to make a Polish lancer from the Imperial Guard, these soldiers had a rather unique uniform with lots of detail and special stitching. I spent a lot of time finding historical references and archives.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/da06813a8f3f482da0fc37e9d519bb88henri%202.png" class="custom-image original-size" data-id="da06813a8f3f482da0fc37e9d519bb88" data-width="1000" data-height="1600">For this one, I really concentrated on understanding the costume, there were lots of different parts and specific sewing with each part so it was quite difficult at first to really understand and place everything there was to do.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/d50fd6294ed44bcd8e717289f3118182Marvelouspatternnapoleonic.jpg" class="custom-image original-size" data-id="d50fd6294ed44bcd8e717289f3118182" data-width="1338" data-height="1408"><h1>What were the main challenges you faced while working on this project, particularly with the costume design?&nbsp;</h1>These were my first projects with Marvelous Designer, so my main challenge was to understand the patterns and sewing, and reflect this in the simulations. Trying to reproduce the historical costume was also a challenge, especially for the Napoleonic, which has many different pieces.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/e7f1434cc2f14b48835a9817f852028c%E5%A3%AB%E5%85%B519.png" class="custom-image original-size" data-id="e7f1434cc2f14b48835a9817f852028c" data-width="1237" data-height="1390"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/a6d31335b97e4e8582609b5cfb949e4b%E5%A3%AB%E5%85%B520.png" class="custom-image original-size" data-id="a6d31335b97e4e8582609b5cfb949e4b" data-width="1718" data-height="1604"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/ddb75af5713a48d09f0ce2e70d6b7240%E5%A3%AB%E5%85%B510.png" class="custom-image original-size" data-id="ddb75af5713a48d09f0ce2e70d6b7240" data-width="2788" data-height="1318">The retopology was quite a difficult part to keep the details of the different parts, I did the retopology in Maya (I just discovered that there is a retopology mode directly in Marvelous Designer). My modeling work consists of exporting the flat patterns and simulated fabric from Marvelous Designer and retopologizing the flat pattern and transferring the position attribute by UV from the simulated fabric to the flat retopologized. Then I merge the parts and start detailing them in Maya.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/b938251a5db74f11b918549d2f336850retopologycloth.png" class="custom-image original-size" data-id="b938251a5db74f11b918549d2f336850" data-width="2084" data-height="1384"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/5705657107c24cfbbfca5070a4be6c65%E5%A3%AB%E5%85%B518.png" class="custom-image original-size" data-id="5705657107c24cfbbfca5070a4be6c65" data-width="3563" data-height="1290"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/a96c81a8119541e9ae7c8ab62098082eclothworkflow_02.jpg" class="custom-image original-size" data-id="a96c81a8119541e9ae7c8ab62098082e" data-width="3643" data-height="1342"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/a8efb6404b49450e9227c07e35338572modelTOPOwireframe.jpg" class="custom-image original-size" data-id="a8efb6404b49450e9227c07e35338572" data-width="4591" data-height="2086">I used the same workflow for my Victorian character.<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/f242a9ed2cfe43fdbccd1e4a9f6b4d3e%E5%A3%AB%E5%85%B512.png" class="custom-image original-size" data-id="f242a9ed2cfe43fdbccd1e4a9f6b4d3e" data-width="1548" data-height="1488"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/d5019c8a2c0a40ac96f92feb11cd6503%E5%A3%AB%E5%85%B511.png" class="custom-image original-size" data-id="d5019c8a2c0a40ac96f92feb11cd6503" data-width="1398" data-height="1528"><img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/b237a72c0d014a419aaf22fd1a71eddcmodelTOPOwireframevic.jpg" class="custom-image original-size" data-id="b237a72c0d014a419aaf22fd1a71eddc" data-width="4591" data-height="2086">And the most interesting part was the texturing inside of Substance Painter, with the Marvelous Designer workflow it was easier because the UV are already done and are based on the different seams. So the textures react as they would in real life.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202412/ea11111fc8bf42c4a5fe3e0a9bc32f28/images/7731658467754049983f287148186e34%E5%A3%AB%E5%85%B517.png" class="custom-image original-size" data-id="7731658467754049983f287148186e34" data-width="3000" data-height="1277"><h1>What tips would you give other artists using Marvelous Designer for character design in animation?</h1>I'm fairly new to Marvelous Designer so I don't know if I can give advice to other users, but for new users don't be scared off by the software, just dive in it's an amazing tool, you'll really improve your character by having accurate and realistic clothing without the difficulty of creating accurate creases as you would have done by hand in Zbrush. And your texturing workflow will be improved too. And don't be afraid to create complex garments like a Napoleonic costume with Marvelous if you have good references, you can do things that look difficult very easily!&nbsp;<h1>How would you describe your overall experience using Marvelous Designer?</h1>The experience was really great for my first few projects in Marvelous Designer, I didn't really have any difficulties learning the software and everything went smoothly during the designs, even when I didn't know how to do certain things. I was really happy to have MD in my toolbox because it took my characters to another level with cool fabrics and now I can design more characters with complex clothes without restricting myself!<h1>by&nbsp;Henri Gatard <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/hgat_art">Instagram</a></h1>

Character Art Direction

KOFOTI_Male_Patterns

Hello, I am exporting meta data along with obj from CLO. But I noticed that when I tick "Turned" on a Seam, it just exports whatever values were used for Fold Strength and Fold Angle before I clicked turned to the meta data file. There is no information about the status of the Turned checkbox in the meat xml file. And obviously, if I wanted to use the Fold information for rendering, etc, I would work with incorrect data if Turned is ticked. I hope this makes sense.Am I missing something?Is there a way to get the information into the meta file?Cheers, Sebastian

Minimalist turquoise blue stage set

3DWearStudio

3DWearStudio