<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>A 3D Environment Artist, Furkan adapted Marvelous Designer to make a realistic effect with PVC cloth on the table.</em></span></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/94f8993d0c5049ffbf6be357dcfa6308/images/bb5a8e65382942918fd26571c035f64acyberpunk%20nightclub1.png" class="custom-image original-size" data-id="bb5a8e65382942918fd26571c035f64a" data-width="1080" data-height="1080"><h1 style="text-align: center"><strong>Interview with Mehmet Furkan Malli | </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/Ar54BN"><strong>Cyberpunk Nightclub Storage Props</strong></a></h1><hr><h1><strong>Artist Introduction</strong></h1><p>Hello, my name is Furkan. I’m a 3D Environment Artist working in the game development industry for not so long. I studied architecture in college and it was a pivotal moment for me to realize that I could apply my design knowledge such as form, colour, light and most obviously creating spaces to game art. I have started my game art journey by working on props by interpreting real-life references. Creating multiple props and arranging them in a plausible way was the next step for me, as I have tried to accomplish for this challenge. It’s still an ongoing process for me; creating environments and learning game engines to tell a story.&nbsp;</p><img src="https://storagefiles.clo-set.com/public/community/202501/94f8993d0c5049ffbf6be357dcfa6308/images/6c038fcf084741619555e93effbcbbb7nighclub2.png.png" class="custom-image original-size" data-id="6c038fcf084741619555e93effbcbbb7" data-width="2560" data-height="2560"><h1><strong>Can you give us a quick overview of the different tools used in your pipeline?</strong></h1><p>After I decide on what to do, I always start with gathering references. I use PureRef to bring together the images I choose. After that, I start to work with blocks and simple geometries. It’s important to see proportions and make it look like how you planned from the beginning. Maya and Blender are my modelling tools for creating low-poly models. Although I could use those tools for high poly, I love how ZBrush can make it easier to create high poly models. In order to bake high poly details to low poly models, Marmoset Toolbag is a very smooth and fast option on my pipeline.&nbsp;For this challenge, I used Marvelous Designer to strengthen the Cyberpunk feeling and overall look. It was easy for me to imagine the cloth and materials when considering Cyberpunk Theme. It was a transparent PVC cloth I had seen on Blade Runner many times, and I knew I could easily simulate and export a single sheet of PVC cloth in Marvelous Designer.&nbsp;After all of these, my favourite part begins which is texturing and Substance Painter, the one and only tool that works for me. Finally to make a portfolio presentation I go back to Marmoset Toolbag for some renders.</p><h1><strong>How can you describe your overall experience of the use of the Marvelous Designer?</strong></h1><p>I could say it was an enjoyable and fun process for me. Dragging and pulling the cloth so easily is genuinely entertaining. I could say it was easy to use for me, of course, I’m not creating complex clothing or using it for fashion purposes. However, Marvelous Designer is going to be a great tool for me, as an environment artist, I’m not going to hesitate a second to use it for my scene and won’t bother myself with modelling tools to create cloth pieces.&nbsp;&nbsp;</p><p></p><p>by <strong>Mehmet Furkan Malli</strong></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/Ar54BN"><strong>Artstation</strong></a></p><p></p>