<h2 style="text-align: center">Lightfarm, a multi-award-winning visual arts production house used Marvelous Designer to make ultra-realistic CGI videos. Watch the interesting "Snooze" Project.</h2><hr><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/363927210" frameborder="0" width="800" height="480" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1 style="text-align: center">Interview with Lightfarm Studios</h1><hr><h1>1. Could you briefly introduce your team?</h1>In 2010, Lightfarm was opened in Auckland, New Zealand. In a short time, the studio gained worldwide notoriety and opened branches in Australia, Singapore, and Brazil, where our largest studio is now located, in Rio de Janeiro. In 2020, Lightfarm opened another new studio in São Paulo, focused mainly on new technologies, specializing in XR (AR and VR). Lightfarm is a multi-award-winning visual arts production house recognized by Cannes and winner of the LIA Grand Prix. Delivering stress-free creative solutions on time and on budget, we build and produce everything, from ultra-realistic CGI images and videos to AR filters and VR applications. Our core values are good service, efficiency, and artistic quality.<h1>2.&nbsp;&nbsp;Introduction of "Snooze" Project</h1>"Snooze" is the most ambitious project to date for the Lightfarm teams. To create this 4-minute short film, it was necessary to capture more than 50 scenes in 10 different places over five months of production. To get to the final result, the capture needed to be on triple levels. First, we filmed the dancer in the actual locations, then we filmed the same choreographed take without the dancer, and finally, we re-recorded the choreography of all the scenes to capture movements in our studio.&nbsp;With motion capture, our animators were able to bring the virtual character to life. We physically simulated the clothes on an invisible 3D model - a crucial step brilliantly directed by Rafael Coppola using Marvelous Designer.&nbsp;[Marvelous Designer] Pattern making #1<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/1d2cae0b1ac942c586992f2306cf0c5f1.png" class="custom-image original-size" data-id="1d2cae0b1ac942c586992f2306cf0c5f" data-width="681" data-height="390">[Marvelous Designer] Pattern making #2<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/6c054ea8f79e4731975514ab73e4549a2.png" class="custom-image original-size" data-id="6c054ea8f79e4731975514ab73e4549a" data-width="694" data-height="389">[Marvelous Designer] Pattern making #3<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/f0f07ebb612b4da0ac0d36d0b63df8083.png" class="custom-image original-size" data-id="f0f07ebb612b4da0ac0d36d0b63df808" data-width="696" data-height="391">Final Outfits<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/3f046f51abe5463cbc58e7e3112d9d97%EB%8B%A4%EC%9A%B4%EB%A1%9C%EB%93%9C.png" class="custom-image original-size" data-id="3f046f51abe5463cbc58e7e3112d9d97" data-width="1400" data-height="788">To light up the scenes, we capture HDRs from the actual locations and use these HDRs to illuminate the virtual character, thus creating a sense of visual realism. Finally, the post-production, led by Thiago Paladino, composed these different pieces of the puzzle, creating a playful yet realistic composition.&nbsp;"Snooze" was a film where we managed to mix all the digital art disciplines in one project for the first time. All of this was possible thanks to high-end software and features, plus an outstanding team of professionals.Video#2 Making Film<div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/363931322" frameborder="0" width="800" height="480" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>3. A Brief Workflow in Animation for Snooze Project</h1>To animate it, Rafael Coppola used an animated model that was the basis of the girl dancing. To try to make the simulation smoother, he simulated with a time step of 60 fps, even though the animation had 30 fps - this means that he simulated the animation with a higher time step than the real animation. He also used a time step of 0.016666666666, and 7 in number of simulation, and also increased gravity a little. The export was all in Alembic with 30 fps, and the thickness was made using C4D. In addition to these softwares, we also used Maya, Houdini, Redshift, Rokoko, Adobe Photoshop, Animate CC, After Effects, Nuke and DaVinci Resolve throughout the project.<h1>4. Would you like to recommend Marvelous Designer to other 3D artists and why?</h1>"Marvelous Designer is incredible because it offers great editing and creating power of pieces of all levels of complexity. It's fundamental to all my cloth projects", says Coppola."Although Marvelous Designer is not made for video, we managed to extract the best from the tool so that it worked beautifully in the film "Snooze", just as we saw in titles like "Love Death and Robots" and "Spiderverse". The clothes simulation and its animation were complex but crucial stages in which Marvelous served us very well to make the main character even more striking!", says Milton Menezes, Director of Snooze.by Lightfarm StudiosLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lightfarm.com/home">Lightfarm Studios official website</a>

Snooze Project

The Handbag Edit

Every Style Starts with You

Designer

Seller

<h2 style="text-align: center">Eugene Lemeshko used Marvelous Designer in an unconventional way to create XIII, a gothic armor piece inspired by medieval history and tarot symbolism. His workflow showcases the software’s surprising flexibility for hard surface modeling, especially in AR design.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/7b26fb7552d04d0a9721c129286d88c3logo.png" alt="7b26fb7552d04d0a9721c129286d88c3" class="custom-image original-size" data-id="7b26fb7552d04d0a9721c129286d88c3" data-width="2000" data-height="2000"><h1 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/mA0a9y">Eugene Lemeshko</a> | XIII | 3D Character/Cloth/Armor Artist</h1><h1 style="text-align: left">Introducing the Artist – Can you share a bit about yourself and your project, XIII?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/1abe1192b8cc45b5b635020d9d7fd4a9main.png" alt="1abe1192b8cc45b5b635020d9d7fd4a9" class="custom-image medium-size" data-id="1abe1192b8cc45b5b635020d9d7fd4a9" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/d20b77d6a0034d729ccdd8cd104c5a74mood.png" alt="d20b77d6a0034d729ccdd8cd104c5a74" class="custom-image medium-size" data-id="d20b77d6a0034d729ccdd8cd104c5a74" data-width="3840" data-height="2160">My name is Evgenii, and I’m a 3D artist with over four years of experience creating 3D assets and digital garments for AR platforms - including Instagram filters and digital clothing for Snapchat. Also, I am an award winner in several contests from Meta Inc. and Snapchat, including these contests (<a target="_blank" rel="noopener noreferrer nofollow" href="https://blog.lenslist.co/2022/09/27/lenslist-x-snapchat-ar-fashion-month-challenge-winners-announcement/">Link 1,</a> <a target="_blank" rel="noopener noreferrer nofollow" href="https://blog.lenslist.co/2021/12/09/winners-announcement-2-c4c-our-future-planet/">Link 2</a>)For a long time, I worked as a 3D designer at ZERO10, where we focused on creating ultra-realistic digital twins of real-life garments and accessories. (I also <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/reel/CspKTB3AwbD/?utm_source=ig_web_copy_link&amp;igsh=MzRlODBiNWFlZA%3D%3D">contributed to asset creation and optimization for a collaboration between CLO and Stanford University.</a>)My background is quite unique - I previously worked in the tourism industry and spent over ten years involved in historical reenactment of the High Middle Ages (14th–15th centuries). That experience deeply influenced my personal style and love for all things medieval: armor, weapons, culture, and history. One day, in my free time, I wondered - could I create armor in Marvelous Designer?That’s how the project XIII was born - a representation of the "Death" card from the Rider-White Tarot deck, visualized as a black gothic armor with golden elements that echoes medieval aesthetics. I originally created this armor as a personal project during my time at ZERO10. There were specific limitations - the entire model had to be under 10,000 vertices, meaning all the armor had to share a single UV map, one material, one mesh, and all the intricate details had to be hand-painted into the textures.Final result for AR Try-On is <a target="_blank" rel="noopener noreferrer nofollow" href="https://zero10.ar/garment/eugencolter-xiii">here</a>.<h1 style="text-align: left">You designed most of your armor pieces using Marvelous Designer, which is quite unique. What was it like working with hard surface modeling in this software?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/d7854f9180bc437c865234263a8c6ebaclose3.png" alt="d7854f9180bc437c865234263a8c6eba" class="custom-image medium-size" data-id="d7854f9180bc437c865234263a8c6eba" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/cf640b1a28fc4b1aae44f4cdc6bd2bccclose2.png" alt="cf640b1a28fc4b1aae44f4cdc6bd2bcc" class="custom-image medium-size" data-id="cf640b1a28fc4b1aae44f4cdc6bd2bcc" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/ae5ce539b8c2429885874f900b960452close1.png" alt="ae5ce539b8c2429885874f900b960452" class="custom-image medium-size" data-id="ae5ce539b8c2429885874f900b960452" data-width="3840" data-height="2160">The idea to create armor in Marvelous Designer started as a spontaneous experiment. Honestly, I didn’t expect much from it at first. I had tried to make armor before, but it always looked too soft or plush like <a target="_blank" rel="noopener noreferrer nofollow" href="https://zero10.ar/garment/eugencolter-iron-maiden">this</a>. However, Marvelous Designer has a huge advantage - it lets you work with patterns, much like real-life armorers do. Blacksmiths often use templates just like tailors - the only difference is that metal can be shaped and forged into rigid forms. Marvelous Designer offers a similar flexibility: you create a base pattern, simulate it to get the right shape, freeze it, and then gradually add more details. The key is controlling the deformation of each piece and using pins to lock certain parts together when needed.<h1 style="text-align: left">Could you give us a brief rundown of the tools and software you used throughout your workflow?</h1>The main armor — everything except the helmet and gloves — was created entirely in Marvelous Designer. For the helmet and gloves, I used free assets as a base and rebuilt them from scratch in Blender. The sword and shield were also modeled in Blender. I refined the details in ZBrush and did all the texturing in Substance Painter. I created turntables in Blender, and the final renders were done in Marmoset Toolbag.<h1 style="text-align: left"><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/9ab0379bb6bc4c14ac400858115d9939orto.png" alt="9ab0379bb6bc4c14ac400858115d9939" class="custom-image original-size" data-id="9ab0379bb6bc4c14ac400858115d9939" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202506/56b5c3e48b604892aa12dcbb91bea45d/images/366fe04785e1499abf3a5713286c08a3weapon.png" alt="366fe04785e1499abf3a5713286c08a3" class="custom-image original-size" data-id="366fe04785e1499abf3a5713286c08a3" data-width="3840" data-height="2160">What were some of the biggest challenges you faced while working on this project?</h1>Marvelous Designer isn’t built for hard surface modeling, so getting the right shapes for armor was possible - but tricky. Every piece had to be carefully simulated, frozen, reinforced, and sometimes simulated again. Another important factor was adjusting seam angles - they play a huge role in creating bulges or indentations. One of the biggest challenges was the engraving. I had to manually paint all of it onto the curvature map in Photoshop to place it perfectly in UV space. It was a very meticulous process, but it helped preserve the clean topology I needed for the project.<h1 style="text-align: left">Do you have any advice for artists looking to use Marvelous Designer for hard surface modeling?</h1>It’s absolutely doable - you can achieve almost any hard shape as long as you understand the basics of simulation and pattern freezing. But to be fair to the community: Marvelous is best suited for rigid but organic forms. If you want to create sleek, flowing, or surreal armor, Marvelous can be a great fit. However, if you're aiming to recreate historically accurate pieces and you're working under production deadlines, it might be more efficient to stick to classic modeling tools. That said - don’t be afraid to experiment. You never know what creative results might come from trying something unconventional.<h1 style="text-align: left">How would you describe your overall experience working with Marvelous Designer?</h1>Out of all the clothing simulation tools I’ve tried, Marvelous Designer is the most intuitive and user-friendly — especially thanks to its clean interface. You can learn the basics and navigation within a few hours.The new GPU-based rendering also speeds up the workflow significantly and allows for quicker prototyping and iteration. I would also like to share other projects that were created specifically for AR, which were also created using Marvelous Designer, as a tool of my pipeline: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/GvdAna">example 1</a> / <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/2BZNex">example 2</a> / <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/4NlgDl">example 3</a>.

XIII - Hard Surface Modeling with Marvelous Designer

<h2 style="text-align: center">Discover how artists like <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ryanandrade">Ryan Andrade</a> use Marvelous Designer to elevate concept art—combining 3D cloth simulation with traditional illustration techniques to create dramatic, painterly visuals for games like Civilization 7. From dynamic character poses to time-saving workflows, Marvelous Designer bridges the gap between realism and stylization in modern game development.</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/kK_JrrP9m2U?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 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ryanandrade">Ryan Andrade </a>| Civilization 7 | Lead Concept Artist at Firaxis</h1><h1 style="text-align: left">Can you tell us a bit about yourself and your work on Civilization 7?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/77b9152e98a4438cad07da520233a33aCopy%20of%20FranceLP_Thumbnail.jpg" alt="77b9152e98a4438cad07da520233a33a" class="custom-image original-size" data-id="77b9152e98a4438cad07da520233a33a" data-width="1000" data-height="1000">My concept artwork has always had a heavy emphasis on 3D. I picked up Marvelous Designer back in 2014-ish when I was in college. I started using Marvelous Designer as a reference for painting more believable clothing folds for illustrations, and that’s essentially how I use it now on Civilization. <h1 style="text-align: left">Civilization 7 features a stylized look. What led you to incorporate Marvelous Designer into your workflow, and how did it support the artistic direction?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/bd2095716f384fda8836991994d459c6Copy%20of%20XerxesLP_Thumb.jpg" alt="bd2095716f384fda8836991994d459c6" class="custom-image original-size" data-id="bd2095716f384fda8836991994d459c6" data-width="1000" data-height="1000">Civ 7’s aesthetic is dark and moody, and our art director had tons of chiaroscuro paintings for us to reference early in production. Baroque and Renaissance era painters are masters of clothing folds (amongst many other things), and so I once again turned to Marvelous Designer to serve as my reference. Those old masters of course hired models to pose for days while they painted, later painters like Norman Rockwell would use photo reference of hired models for the same effect. For my purposes, I see Marvelous Designer as an evolution on that, allowing me to dress and pose characters which then inform my illustrations. <h1 style="text-align: left">Workflow &amp; Tools – Could you walk us through the key tools and software you used throughout the project?</h1>The first step often happens in Blender where I’m blocking out loose composition ideas with simple geometry. From there I’ll use Daz for more articulated and detailed characters, and put those characters in Marvelous Designer for cloth simulation. Then it’s back to Blender for lights &amp; materials, and lastly is Photoshop for making brushy paint strokes. <h1 style="text-align: left">Can you share some standout moments where Marvelous Designer played a crucial role in creating iconic scenes or characters?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/c99c92dc2fe448bba83c11e3aaf6251aCopy%20of%20FranceLP.jpg" alt="c99c92dc2fe448bba83c11e3aaf6251a" class="custom-image original-size" data-id="c99c92dc2fe448bba83c11e3aaf6251a" data-width="5040" data-height="2160">1) final painting The French layer painting for Civ 7 was one of my favorite use cases for Marvelous. The focal point is a woman in a dress hoisting a flag in really dramatic lighting, which would have been hard to paint from scratch without 3D. The great thing about Marvelous is when you’re able to re-use and tweak older assets for new projects, in this case I already made 90% of the stuff I needed, which saved a lot of time.<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/c98c161f97374a2083f7e7b5eee0bd87Copy%20of%20FranceLP_Process.jpg" alt="c98c161f97374a2083f7e7b5eee0bd87" class="custom-image original-size" data-id="c98c161f97374a2083f7e7b5eee0bd87" data-width="5040" data-height="2160">2) underpainting made using the 3D as a reference<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/2896955048b4439482a53ee5c208dd8eCopy%20of%20FranceLP_Process2.jpg" alt="2896955048b4439482a53ee5c208dd8e" class="custom-image original-size" data-id="2896955048b4439482a53ee5c208dd8e" data-width="5040" data-height="2160">3) raw render from Blender using Marvelous Designer and Daz for the figures The Xerxes illustration was a similar scenario, with tons of robed figures right up in front of the camera. Using Marvelous along with Blender gave me a solid foundation for my painting. <img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/30eeaee8c31546d7927a31174fba68fcCopy%20of%20XerxesLP.jpg" alt="30eeaee8c31546d7927a31174fba68fc" class="custom-image original-size" data-id="30eeaee8c31546d7927a31174fba68fc" data-width="3840" data-height="2160">1) Final painting<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/5e8b394b4175451ab9611e17aff0a32fCopy%20of%20XerxesProcess.jpg" alt="5e8b394b4175451ab9611e17aff0a32f" class="custom-image original-size" data-id="5e8b394b4175451ab9611e17aff0a32f" data-width="3840" data-height="2160">2) raw render from Blender using Marvelous Designer &amp; Daz for the figures<h1 style="text-align: left">What advice would you give to artists who want to use Marvelous Designer for concept art?</h1>Budget your time wisely, at least for professional work. Decide which characters in a scene will benefit most from detailed cloth sim, and which could make do without. <h1 style="text-align: left">How would you describe your experience working with Marvelous Designer on this project?</h1>Marvelous is my go-to cloth simulation tool, I’ve used it for all sorts of personal and professional projects, and so far no other program comes close to matching its features. <h1 style="text-align: left"></h1>

Stylized Concept Art Meets 3D: How Marvelous Designer Enhances Illustration in Civilization 7

Hey community, Have you ever copied something so perfectly that it starts looking back at you… respectfully?I have.Here’s the bag: 👉 <a target="_new" rel="noopener" class="" href="https://es.coach.com/es_ES/products/bolso-tote-cargo-26-coach-x-peanuts/CBH43-B4TXJ.html?frp=CBH43+B4TXJ">Original Coach x Peanuts Tote</a>And here’s what I ended up with. I love those “spot the difference” pictures — one is the real bag, the other is 3D.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/e8bbb0a87a8f47c4bc8b025080502714coach%20x%20peanuts%20bag%2026.jpg" alt="e8bbb0a87a8f47c4bc8b025080502714" class="custom-image original-size" data-id="e8bbb0a87a8f47c4bc8b025080502714" data-width="3000" data-height="1500">🎬 Why I Did ItBecause this contest showed up — <a target="_new" rel="noopener" class="" href="https://connect.clo-set.com/contest/thehandbagedit">The Handbag Edit</a> — and I got curious: How precisely can I reproduce a real-world product in CLO3D?Turns out — 100% precisely. And I’m very happy with that. <h3>🛠 How It Was Made (tech breakdown, no sugarcoating)</h3>I took all my reference and measurements directly from the brand’s official product page. Then everything was “stitched” manually in CLO — every seam, stitch, fabric thickness, hardware detail.1) Base shape, no detailing yet — Use the measurements from the site, build a clean box shape, control seam angles to get those crisp, structured corners (not a soft cylindrical pouch). — Skip using avatars for bags — it’s faster and more accurate without them. — Set the fabric physical properties to Trim — the firmest preset.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/e0c2e39b23464962a6c59c85c19e03cc4_2%20%286%29.jpg" alt="e0c2e39b23464962a6c59c85c19e03cc" class="custom-image original-size" data-id="e0c2e39b23464962a6c59c85c19e03cc" data-width="2000" data-height="827">2) Added detailing on front and back panels — Just sliced and stitched the panels. — Edge finishing is key — it’s the visual master. With proper edges, the detail level gets so high, even the original brand would squint. <img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/610f770ffe1744cb8547f1bf2de0b41d4_2%20%286%29%20%281%29.jpg" alt="610f770ffe1744cb8547f1bf2de0b41d" class="custom-image original-size" data-id="610f770ffe1744cb8547f1bf2de0b41d" data-width="2000" data-height="827">3) Handles — super easy to model — But add +100 points to visual credibility. — Use a denser material and add topstitching along the edge for realism.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/7b1ebbb2e3664dd4a85dc08bc18e8af04_2%20%286%29%20%282%29.jpg" alt="7b1ebbb2e3664dd4a85dc08bc18e8af0" class="custom-image original-size" data-id="7b1ebbb2e3664dd4a85dc08bc18e8af0" data-width="2000" data-height="827">4) Texturing — the ultimate mimic tool — I used a clean UV unwrap. — The bag parts are all square, so the UVs packed compactly. — I based my texture directly on photos from the official website. — Cut and paste elements onto the UV layout — the product photos were high quality, so the result looks sewn, not simulated.5) Baking the textures — Only using a normal map and base color. — I baked the normal map in Photopea — a free online Photoshop alternative. — Cleaned up artifacts from both normal and color maps in there as well.<img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/aaa4c1c8a133429f936eaa081bce68764_2%20%286%29%20%283%29.jpg" alt="aaa4c1c8a133429f936eaa081bce6876" class="custom-image original-size" data-id="aaa4c1c8a133429f936eaa081bce6876" data-width="1650" data-height="827">I didn’t model the bag’s interior — on purpose. It’s not shown in the product either, and I wanted to stay authentic.But next time — I’ll go full anatomy. Stay tuned 😉<hr><h3>🧠 The Point</h3>I’m not a designer — not in the “I invent from scratch” sense. I’m more of a 3D technician. I see a reference that gives me chills — and I want to recreate it, exactly.That’s art, too. Just in another dimension.<hr>👀 Coming up next:<ul><li>How I “leveled up” this bag for the actual contest</li><li>And why CLO‑SET wouldn’t let me sell my copy… until I “unbranded” it</li></ul>Stay sharp, fellow 3D modelers. We’re not just converting polygons — we’re recreating reality.— Epi_Kai, CLO rebel since forever 😎<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/uMlBEmJqlHU?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><img src="https://storagefiles.clo-set.com/public/community/202506/c652105f68214c1d9c28c69ae8cf8880/images/449174117d40431fb81bb85710a20775lily%20%286%29%20%281%29.jpg" class="custom-image hidden-thumbnail" data-id="449174117d40431fb81bb85710a20775" data-width="1500" data-height="1997">

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