<p><img src="https://storagefiles.clo-set.com/public/community/202607/0c224dc5ea144c0a893ff4a81ce6a37e/images/f134549d1be04bbfb45ab38f976ccf93Student%20Pricing%20Newsroom%20AND%20Social%20Media%20JP.png" alt="f134549d1be04bbfb45ab38f976ccf93" class="custom-image original-size" data-id="f134549d1be04bbfb45ab38f976ccf93" data-width="2250" data-height="2250"></p><p>3Dアートのポートフォリオ制作に取り組む学生の皆様にとって、業界標準ソフトウェアの一つであるMarvelous Designerの習得は、アーティストとしての第一歩を踏み出すにあたって大きな強みとなると考えております。</p><p>同時に、学生の皆さまは私たちにとってはMarvelous Designerにおけるクリエイティブコミュニティの中核を担う存在です。<br>学生の皆様の制作活動をより支援するために、このたび、学生プランの利用資格期間を2倍に延長し、柔軟な月額制へと移行するアップデートを実施させていただきます。</p><p>この変更を記念し、期間限定で学生プランへご登録いただいた学生の皆さまに、Marvelous Designer を3ヶ月間無料でご提供いたします。</p><p></p><p>新しい学生プランの詳細は以下の通りです。</p><p><strong>学生プランの利用期間を2倍に</strong></p><p>これまでの学生プランの利用期間は2年間に限定されており、ユーザーの皆さまのニーズを十分に満たせていませんでした。<br>新しい学生プランでは、登録日から4年間ご利用いただけます。</p><p><strong>より柔軟な支払い方法</strong></p><p>年間サブスクリプションの一括払いは、時に負担に感じられることがあります。<br>新しい学生プランでは、月額サブスクリプションを導入します。月額 8.25ドルで、Marvelous Designer のすべての機能をお使いいただけます。</p><p><strong>最初の3ヶ月間を無料に</strong></p><p>期間限定で、学生プランの最初の3ヶ月間を無料で提供します。<br>ほぼ1学期分の Marvelous Designer を無料でご利用いただける計算です。<br>もちろん、利用中の機能制限やペイウォールは一切なく、ソフトウェアの全機能にアクセスできます。<br>※3ヶ月無料オファーは10月31日まで有効です。</p><p></p><p>学生プランの変更に加えて、学生資格の登録と認証のプロセスもよりシンプルになり、これまで以上にスムーズにMarvelous Designerを始められるようになりました。<br>クリエイティブなビジョンを形にし、技術を磨き、ポートフォリオにふさわしい高品質な作品をともに制作しましょう。</p><p>今すぐ最初の3ヶ月無料ライセンスを受け取り、あなたの制作活動を始めましょう。<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.marvelousdesigner.com/pricing?type=academic">https://www.marvelousdesigner.com/pricing?type=academic</a></p>

新しいフレキシブルな学生プラン + 3ヶ月間無料

dark speed 

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>3D artist A Miao brings the iconic Peaky Blinders character to life using Marvelous Designer, blending historical fashion research with advanced cloth simulation to capture Shelby’s signature style and presence.</em></span></h2><hr><h1 style="text-align: center"><strong><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/d4e9c3bfed4d402ab2221047bf1977cb6.jpg" alt="d4e9c3bfed4d402ab2221047bf1977cb" class="custom-image original-size" data-id="d4e9c3bfed4d402ab2221047bf1977cb" data-width="4000" data-height="4000">Interview with A Miao | </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/wryA6X"><strong>Tommy Shelby</strong></a><strong> | 3D character designer</strong></h1><hr><h1><strong>Could you please introduce yourself to the Marvelous Designer community?</strong></h1><p>Hi everyone! I’m A Miao, a 3D character designer from Chengdu. Right now, I’m working as a topology artist, and when I’m not modeling, I love riding my bike. I really enjoy the whole modeling process—it’s amazing to see something go from nothing to exactly what I imagined. My go-to phrase is: “(/≧▽≦)/~ Good Job!”</p><p>Super excited to be here and share my story with you!</p><h1><strong>Why did you choose Tommy Shelby as the inspiration for your work? Is there a story behind it?</strong></h1><p>I was hanging out at a friend’s place when I stumbled upon the show. The moment Tommy Shelby appeared on screen, I was hooked. He’s deep, a bit melancholic, super stylish, sharp, and full of contradictions. He’s doing all these dark, dangerous things, but still looks like a total gentleman. That contrast really got to me—I couldn’t stop thinking about it. And then I thought: I’ve got to make him in 3D!</p><p><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/a581c18e12f54bce9e135f54e02f4af17.jpg" alt="a581c18e12f54bce9e135f54e02f4af1" class="custom-image original-size" data-id="a581c18e12f54bce9e135f54e02f4af1" data-width="7493" data-height="4000"></p><h1><strong>How did Marvelous Designer contribute to your clothing design process? What unique advantages did it offer?</strong></h1><p style="text-align: justify">Most of the asset is made up of cloth, so I spent a good chunk of the early phase working in Marvelous Designer. I started by digging up references—outfits Tommy Shelby wore in the show, plus fashion styles from that era. Then I built the clothes in a T-pose to nail down the silhouette and vibe.</p><p style="text-align: justify"><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/9e034d8fbeb64408807cb5719a01a451md_a%20pose.png" alt="9e034d8fbeb64408807cb5719a01a451" class="custom-image original-size" data-id="9e034d8fbeb64408807cb5719a01a451" data-width="2416" data-height="1864"></p><p style="text-align: justify">After that, I posed the base model in ZBrush and brought it back into MD to simulate the wrinkles more accurately. The latest MD update with GPU simulation that matches CPU results was a game-changer—it made everything run smoother and helped me stay in the creative flow. Also, the new collision improvements made dealing with garment intersections way less frustrating, so I could really focus on the fun part: making cool stuff!</p><p style="text-align: justify"><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/263ada047b6546f1965d7fba77a7a1eebahou1.png" alt="263ada047b6546f1965d7fba77a7a1ee" class="custom-image original-size" data-id="263ada047b6546f1965d7fba77a7a1ee" data-width="3747" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/d20e4a649c784bcb9222a7f2b7c2d83ebahou2.png" alt="d20e4a649c784bcb9222a7f2b7c2d83e" class="custom-image original-size" data-id="d20e4a649c784bcb9222a7f2b7c2d83e" data-width="3747" data-height="2160"></p><p><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/5ef7f7f3d9534f24be143814c3373c0c4%20.jpg" alt="5ef7f7f3d9534f24be143814c3373c0c" class="custom-image original-size" data-id="5ef7f7f3d9534f24be143814c3373c0c" data-width="8049" data-height="4000"></p><h1 style="text-align: justify"><strong>What were the key details you focused on when recreating Tommy Shelby’s signature suit and coat?</strong></h1><p>The most critical aspects were the garment structure and the silhouette. It was important to convey a sense of sharpness and formality in the overall shape. Additionally, I paid close attention to the fabric behavior—specifically, differentiating the wrinkle characteristics between the overcoat and the suit. Each material needed to express its unique texture and weight to reflect the authenticity of the original design.</p><p><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/f22be58dc5954f23b083b73e95282a045.jpg" alt="f22be58dc5954f23b083b73e95282a04" class="custom-image original-size" data-id="f22be58dc5954f23b083b73e95282a04" data-width="4000" data-height="4000"></p><h1><strong>Did you encounter any challenges during the creative process? How did you overcome them?</strong></h1><p>Yeah, one tricky part was trying to make Tommy’s coat look like it was flowing—kind of giving him that cool, effortless vibe. I tried using wind controller setting, but they were super unpredictable and didn’t give me the folds I wanted.</p><p>So I came up with a workaround: I added a hidden structure under the coat to fake the wind effect. It was like “pinning” the wind in place, and then I could shape the folds exactly how I wanted. It worked out way better and gave me full control over the look.</p><p><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/53bbc6c2b94f4da5ba788eb5eeb6d35dmd_pose.png" alt="53bbc6c2b94f4da5ba788eb5eeb6d35d" class="custom-image original-size" data-id="53bbc6c2b94f4da5ba788eb5eeb6d35d" data-width="2404" data-height="1863"></p><h1><strong>Any advice for other artists who want to use Marvelous Designer?</strong></h1><p>The GPU simulation in the newer versions of MD is awesome—it gives the same results as CPU but way faster, which really helps speed things up.</p><p>Also, don’t overlook the Layer feature, It’s super handy for avoiding those annoying pattern&nbsp; intersections. And the Adhesive Lining tool? Super useful! I used it on the hat in this project to get that realistic, structured look, and you can even pick different lining materials. Once you get the hang of these tools, your workflow becomes way smoother.</p><p><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/21a173e303e342a5ab0a4e754e596d812.1.jpg" alt="21a173e303e342a5ab0a4e754e596d81" class="custom-image original-size" data-id="21a173e303e342a5ab0a4e754e596d81" data-width="2500" data-height="4000"></p><p></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/a_miao">Artstation</a></p><p><br></p>

Recreating Tommy Shelby in 3D: A Tribute in Cloth and Character

Regal Rebel [mdcc2025vol3] 

<p>分享一组穿搭</p><p><img src="https://storagefiles.clo-set.com/public/community/202511/05f29500f611457bb7d3c75d5c3a8a9d/images/c325af57b83242cfb0afe150b162ae6f%E5%B1%8F%E5%B9%95%E6%88%AA%E5%9B%BE%202025-11-10%20161623.png" alt="c325af57b83242cfb0afe150b162ae6f" class="custom-image original-size" data-id="c325af57b83242cfb0afe150b162ae6f" data-width="2559" data-height="1387"></p><p><img src="https://storagefiles.clo-set.com/public/community/202511/05f29500f611457bb7d3c75d5c3a8a9d/images/43c492a622ce4999bd0f40d5301c6b8643f2469a_0.png" alt="43c492a622ce4999bd0f40d5301c6b86" class="custom-image original-size" data-id="43c492a622ce4999bd0f40d5301c6b86" data-width="2048" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202511/05f29500f611457bb7d3c75d5c3a8a9d/images/9676bb6c9faf4ef0b62b724830bd4a10LOOK-06-%E6%B8%85%E6%96%B0%E6%96%87%E8%89%BA%E9%A3%8E-%E9%9D%A0%E8%BD%A6%E5%A7%BF%E5%8A%BF_1.png" alt="9676bb6c9faf4ef0b62b724830bd4a10" class="custom-image original-size" data-id="9676bb6c9faf4ef0b62b724830bd4a10" data-width="2048" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202511/05f29500f611457bb7d3c75d5c3a8a9d/images/61c0685a52be4f3298da158ab8dcdc3fLOOK-06-%E6%B8%85%E6%96%B0%E6%96%87%E8%89%BA%E9%A3%8E-%E7%AB%99%E5%A7%BF_1.png" alt="61c0685a52be4f3298da158ab8dcdc3f" class="custom-image original-size" data-id="61c0685a52be4f3298da158ab8dcdc3f" data-width="2048" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202511/05f29500f611457bb7d3c75d5c3a8a9d/images/72c9cc0efc16486aa7f1a4de0b22795c660491eb_0.png" alt="72c9cc0efc16486aa7f1a4de0b22795c" class="custom-image original-size" data-id="72c9cc0efc16486aa7f1a4de0b22795c" data-width="2048" data-height="2048"></p>

清新文艺风搭配

<p>コンテスト要項にある、公式バートンロゴのダウンロードリンクが開けない（リンクされていない）状態なのですが、ほかの参加者さんはみんなできていますか？</p><p>ボードのデータもテクスチャが貼られていないのですが、こちらはみなさん一緒ですかね？（スノーボードシューズにはテクスチャがあったのでお聞きしたいです）</p><p></p>

CLO×Burtonのロゴダウンロードができない

FV2_Fashion Pose_05

FV2 H-Line Layered Skirt

CONNECT Challenge : #Glamshot

FV2 360 degrees flare skirt

KV1 Flat A (7-20)

Ballet shoes

FV2_Fashion Pose_07

FV2_Standing Idle_03

FV2_Standing Idle_02

FV2 Tight Skirt

Female pose #1

KV1 Flats GR (7-20y)

cristinas.pascal

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>✨ Blending tradition and future: Tony Zhou reimagines Guan Yu with cyberpunk aesthetics using Marvelous Designer. A fusion of history and innovation! ✨</em></span></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/e957b94cbc124b2aa9fa9fed1324b7d8%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%901.png" class="custom-image original-size" data-id="e957b94cbc124b2aa9fa9fed1324b7d8" data-width="1820" data-height="2048"><h1 style="text-align: center"><strong>Interview with Tony Zhou| </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/XJJRoY"><strong>Traveller</strong></a><strong> | 3D Artist</strong></h1><hr><h1><strong>Could you please introduce yourself to the Marvelous Designer community members?</strong></h1><p>Hi, my name is Zhou Deming, a senior game character artist from China with ten years of experience in game development. In my free time, I like to delve into new creative workflows and pursue personal projects. I am currently employed at NetEase Gaming, leading the character development for<em> Destiny Rising</em>.</p><h1><strong>Tell us about the project. What inspired you? Is there a particular story or setting behind it?</strong></h1><p>This project draws inspiration from blending traditional Chinese historical characters with contemporary game character design, exploring a creative fusion of the contrasting worlds of the Three Kingdoms period and the cyberpunk aesthetic.</p><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/4ad72152c27643ce8d7ae29f076a2e26%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%902.png" class="custom-image original-size" data-id="4ad72152c27643ce8d7ae29f076a2e26" data-width="1820" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/1a2bd08f779746eba2018dbc198aed3f4.jpg" class="custom-image original-size" data-id="1a2bd08f779746eba2018dbc198aed3f" data-width="2667" data-height="2886"><h1><strong>As a traditional Chinese historical figure, Guan Yu represents classical culture, while cyberpunk embodies a futuristic aesthetic. How did you approach blending these traditional cultural elements with futuristic technology in your creation? How did Marvelous Designer contribute to this integration?</strong></h1><p>To prepare for this creation, I researched a wide range of literary works about Guan Yu, as well as his depictions in modern films, TV shows, and games. I also studied many cyberpunk-style art pieces. From these sources, I distilled elements such as costume structures and color schemes to craft the preliminary design.</p><p>Marvelous Designer played a crucial role in experimenting with various clothing styles during the early design phase. Unlike revising 2D drafts, using a 3D platform allowed for real-time adjustments and a more intuitive visualization of designs, greatly enhancing efficiency and facilitating early-stage adjustments.</p><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/d00ca31ac20348dc906070c39b84db4d1.jpg" class="custom-image original-size" data-id="d00ca31ac20348dc906070c39b84db4d" data-width="2500" data-height="1419"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/3a21eb134b9948f9bf0f0effb7dc5846%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%90%E6%A8%AA%E7%89%88.png" class="custom-image original-size" data-id="3a21eb134b9948f9bf0f0effb7dc5846" data-width="2048" data-height="1152"><h1><strong>The metallic finish and aerodynamic design of the character’s coat are remarkable! What techniques did you use to achieve this fabric effect?</strong></h1><p>While refining the design drafts, a preliminary plan for the colors and materials of the garments had already been established. The proportions of fabrics, leather, technological materials, and hard surfaces were continuously adjusted and polished during the subsequent modeling process to achieve a more harmonious visual effect. The segmentation of lines was evaluated by switching between A-pose and T-pose to observe whether the desired outcome was achieved. The texture of the fabrics was created using Substance Painter.</p><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b773c858cdf245118f008c879a3d24286.jpg" class="custom-image original-size" data-id="b773c858cdf245118f008c879a3d2428" data-width="4500" data-height="1957"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b95d4868fdf7485f8e2edd52180201a810.jpg" class="custom-image original-size" data-id="b95d4868fdf7485f8e2edd52180201a8" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b1f865ea53244734a234fa579f7561c2%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%903.png" class="custom-image original-size" data-id="b1f865ea53244734a234fa579f7561c2" data-width="1820" data-height="2048"><h1><strong>Can you give us a quick overview of the different tools used in your pipeline?</strong></h1><p>In the early stages of the project workflow, ZBrush and Marvelous Designer were primarily used for the modeling phase, iteratively refining the character during the high-poly stage. Maya and Marmoset were then employed to complete the low-poly modeling and baking process. Finally, textures were created in Substance Painter, and the final rendering was completed in Marmoset.</p><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/6a19541bb6514daf8b13c09aeff528549.jpg" class="custom-image original-size" data-id="6a19541bb6514daf8b13c09aeff52854" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/49d0969076cc460097c42dcedca4568612.png" class="custom-image original-size" data-id="49d0969076cc460097c42dcedca45686" data-width="3840" data-height="2160"><h1><strong>What challenges did you face during the creation process, and how did you overcome them?</strong></h1><p>The biggest challenges during the entire creative process were related to the overall design, such as character styling, similarities between designs, and making sure the characters felt cohesive. Revisions to the characters were ongoing throughout the process. For example, I kept going back and forth on whether the jacket should be a long coat or a short one, and how much hard surface detailing to include. If something didn’t look right, I’d just scrap it and start over. Even during the final texturing stage, I noticed the jacket’s structure felt a bit lacking, so I went back to the modeling phase to strengthen it. It was a constant cycle of questioning and refining until I reached a result I was truly happy with.</p><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/91095a95b937457fbf49c3768d32760911.jpg" class="custom-image original-size" data-id="91095a95b937457fbf49c3768d327609" data-width="3840" data-height="2160"><h1><strong>Are there any tips and tricks with Marvelous Designer that you can share with the community?</strong></h1><p>Some Tips and Tricks I Used During Production</p><p><br>When it comes to getting better fabric effects, it’s not just about having the right patterns or fabric settings. Fixed pins can be super helpful for simulations! By placing them in specific spots and tweaking their positions, you can often get some surprising and creative results. On top of that, playing with the folding angles of internal lines can create different folds, adding a lot of texture and depth to the fabric details.</p><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/1786e6e508cc4bb1b8685db5e533f687%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E8%A1%A5%E5%85%85%E5%9B%BE2.jpg" class="custom-image original-size" data-id="1786e6e508cc4bb1b8685db5e533f687" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/4c89ae1829e445f99877b150c3d2ed3b%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E8%A1%A5%E5%85%85%E5%9B%BE.jpg" class="custom-image original-size" data-id="4c89ae1829e445f99877b150c3d2ed3b" data-width="2276" data-height="1280"><h1><strong>How would you describe your overall experience using Marvelous Designer?</strong></h1><p>Marvelous Designer’s UI is getting more intuitive and user-friendly, making it easy for both seasoned users and newcomers to pick up the basics quickly. The latest updates bring a big boost to GPU simulation accuracy, and the simulation speed is noticeably faster now. Trim simulations with collision are also much more precise, which makes things a lot more convenient for character artists.</p><h1></h1><h1><strong>by Tony Zhou</strong></h1><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ironman"><strong>Artstation</strong></a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5b20a79a6b58b77865652b93?channelType=web_engagement_notification_page&amp;channelTabId=connections&amp;xsec_token=ABdDteyn-afbgKbKVrUPA8IvVQqiWp5BE0rJzUhZ3SmI0%3D&amp;xsec_source=pc_notice"><strong>Redbook (Xiaohongshu)</strong></a></p>

Traveller - Cyberpunk Guan Yu

Freelancer

Others

<p><span style="font-family: Arial, sans-serif">Pisces goddess-inspired garment★</span></p>

Helena ★ Pisces

Garment

Gender & Age

Women

Style

Outfits

Dress / Jumpsuit

Pants

Skirt

Shirt / Blouse

Genre & Mood

Formal

Medieval World / Fantasy

Asymmetric Metallic Dress

M_Baggy_Jaquard_Jeans_S_F2A238F8

F Ribbon Cami Jeans Set

Gingham Bikni Set

NYX ( DOWON STYLE )

F Peplum Tube Top Skirt Set

Maia ★ Virgo

Bree ★ Taurus

<p>I need to create a fabric object in which areas of pieces of fabric are glued together, not sewn. Only part not all of the pairs of pieces are glued so I can't just cheat it with a single piece. If I just sew the boundary of the glued area then the inner areas aren't flush. I can't find anything online about this. Thanks</p>

Is it possible to "glue" sections of pattern pieces together in Marvelous Designer?

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Marvelous Designer Official

Marvelous Designer Official