<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/88b575e1f6aa44d48979f46732490525/images/63c70e89d3ba4b8d8d83a731f4448d0cHeader_thumb%20%288%29.png" class="custom-image hidden-thumbnail" data-id="63c70e89d3ba4b8d8d83a731f4448d0c" data-width="1240" data-height="652">Nina opens up our eyes with beautiful historical and fantasy outfits. Check out her invaluable tips to express fine details.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/9a1618f222b8420290ccaa24c8cacb814b86f8386a004bed9d3d0b4b156ecab0.jpg" class="custom-image original-size" data-id="9a1618f222b8420290ccaa24c8cacb81" data-width="2272" data-height="3820"><h1 style="text-align: center">Interview with Nina Chernyshenko</h1><hr><h1>1. Artist Introduction</h1>Hello, my name is Nina. I'm from Ukraine, and I'm a freelance digital artist focusing on creating digital clothing. I especially like to make historical clothes and clothes from movies. And I have a digital clothing store on ArtStation.<h1>2. When did you start to learn Marvelous Designer, and what motivated you to start in the first place?</h1>I started out with 2D and most of all I liked to draw characters. But then I thought that it would be interesting to see my characters from all angles, and I decided to start mastering 3D programs. I've watched a lot of YouTube channels about 3D. And one day I came across a tutorial about clothes creation in Marvelous Designer (sometime in 2018). And it turned out to be my dream program. I've always enjoyed drawing and sewing clothes. And I realized that I want to grow in this direction with Marvelous Designer's help.<h1>3. How do you start with your design in Marvelous Designer?</h1>Before I start creating clothes in Marvelous Designer, I pick up a lot of references and save them in PureRef. I find references on Pinterest, Instagram, or just Google. <a target="_blank" rel="noopener noreferrer nofollow" href="https://discord.com/invite/HAh568h">In the Marvelous Designer Discord channel (LINK)</a> also has a pattern-reference section with links to sites where you can find interesting patterns. If I want to make a garment with a complicated design, I try to find a pattern-reference. If I make a historical costume, I also look for patterns to make the clothes as authentic as possible. And if I find a pattern, I import it into the 2D window and trace it with the Polygon tool. But even with this method, you have to adapt the patterns to your avatar. Especially for historical clothes, since historical clothes are based on people of that time and their body parameters differ from standard Marvelous Designer or DAZ Studio avatars. You can use Modular Configurator patterns to create modern clothes.&nbsp;<h1>4. We'd like to see your favorite artworks. Please introduce them to us!</h1><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/7cfde363fdd54b7eb927437b4bd340f54b86f8386a004bed9d3d0b4b156ecab0.jpg" class="custom-image original-size" data-id="7cfde363fdd54b7eb927437b4bd340f5" data-width="2272" data-height="3820">My favorites are, of course, historical clothing and fantasy outfits. It's my passion. There are many interesting challenges in creating historic dresses. For example, how to give the right shape to the skirt.This can be done in the following ways:[Skirt Part]1. Model the frame in any 3D program (Blender, Zbrush) and then import it into Marvelous Designer as an avatar.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/899c8087687343ea9031bc3823294e06aa768725bb9f4bc28e411bd646aaef3e.jpg" class="custom-image original-size" data-id="899c8087687343ea9031bc3823294e06" data-width="742" data-height="945">2. Create a frame in Marvelous Designer from stiff fabric (Trim_Full_Grain_Leather) and after giving the desired shape and volume freeze the fabric.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/0ef660f4e72d4bc9b7869c729907cf508fc28e11e3a74177a9f659f11ef02b5a.jpg" class="custom-image original-size" data-id="0ef660f4e72d4bc9b7869c729907cf50" data-width="1492" data-height="939">3. Use several ruffled underskirts. Also, an integral part of historical costumes is the corset.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/76b58d6e7bc04f3faefb605b8f441750bbe648dd3f784e84a05ba9f2f5f2d443.jpg" class="custom-image original-size" data-id="76b58d6e7bc04f3faefb605b8f441750" data-width="1491" data-height="948">[Corset Part]1. I create a base of stiff fabric (Trim_Full_Grain_Leather). And then, using the function Layer Clone (Over), I create another layer and assign soft material to it (Knit_Cotton_Rayon Jersey or Nylon_Featherweight) and set Particle Distance 5.2.&nbsp; To add more realism, for the top layer, increase the Shrinkage Weft and Warp parameters. The simulation will show more folds. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/a/4328688">You can download the corset file for free here (LINK).</a><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/b8f34688500040cba64cfcc7655530df99cb3680ac4c4f87b6a6fe4eb50f95c4.jpg" class="custom-image original-size" data-id="b8f34688500040cba64cfcc7655530df" data-width="1845" data-height="953">[Accessory Part]Also, in my projects I often add various accessories made in Blender. These are gems that I import as trims or register as buttons, buckles, knives, swords, sabers.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/0a934938b7cc441eb9d74d0070e605e4253572b188af480b937c4ccea97e5cd5.jpg" class="custom-image original-size" data-id="0a934938b7cc441eb9d74d0070e605e4" data-width="747" data-height="954"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/dc778ec0d38b48278e2fe296154a4ab471459693a6d24c29b6d525ee93670b5c.jpg" class="custom-image original-size" data-id="dc778ec0d38b48278e2fe296154a4ab4" data-width="2066" data-height="875"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/d801972929f74b73a2e288913bfb4b0e7b6156f9424d487fb8d2c03260c1f940.jpg" class="custom-image original-size" data-id="d801972929f74b73a2e288913bfb4b0e" data-width="2263" data-height="776">When you import objects into Marvelous Designer as Trims, these objects will move with the fabric when simulating the garment. If you import them as Avatar, they will have to be moved manually. Also pay attention to the properties of these objects in the Property Editor, such as Skin Offset, Static and Kinetic Friction, Weight and Collision. I make hats, bags and shoes in Marvelous Designer. For this purpose, I mostly use the Trim_Full_Grain_Leather and Leather_Lambskin presets. To create the curves of the shape help internal lines (indicating a certain bending angle)&nbsp; and Tack. And it's also important to select the necessary angle of stitching patterns.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/27e492c92b0d4f83a553bb5036b95e9bdc5fb3b7ac6e483a88880dc7b1998fb3.jpg" class="custom-image original-size" data-id="27e492c92b0d4f83a553bb5036b95e9b" data-width="1849" data-height="1895"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/c103a7a019764097aa64703e3652483267f65f2fff354ccfaf61ea42b2e41d2b.jpg" class="custom-image original-size" data-id="c103a7a019764097aa64703e36524832" data-width="745" data-height="924"><h1>5. Can you tell us your process for one of the artworks, including how you used Marvelous Designer and other tools?</h1>I use standard free avatars from DAZ Studio (Daz_Genesis 8 female, male). I export the avatar in A-pose in COLLADA format (.dae). In Marvelous Designer there are several avatar settings. If you want your clothes to fit more closely to the avatar, set Skin Offset 1 or 0. If you want your clothes not to slide on the avatar, increase the Static and Kinetic Friction settings. I also usually smooth out the avatar.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/f6034e8280434c72a490363a30542d5bbec0e881eff84f35b5dbd7601e2c6809.jpg" class="custom-image original-size" data-id="f6034e8280434c72a490363a30542d5b" data-width="977" data-height="945">I build basic patterns. I don't use the measurements on the avatar when I build it, I build it by eye. And then I adjust it to the avatar. First, I make the base of the corset and the skirt. I use a tack on the avatar in the center of the corset, so the corset would fit better to the avatar. Dividing the bodice into four parts helps to fit the bodice to the shape of the breasts.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/033e1e590d134ac5b76312eab17ec78d576914d955c14d58961bd7f5953429f8.jpg" class="custom-image original-size" data-id="033e1e590d134ac5b76312eab17ec78d" data-width="1487" data-height="948">I select the lines where the sleeve is sewn (armhole) and set Elastic Ratio=100 for strength.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/b56c19eb58514166afe160569b7e068f9f02d6fd6494413698f053a1392b808a.jpg" class="custom-image original-size" data-id="b56c19eb58514166afe160569b7e068f" data-width="1838" data-height="951">With the help of Layer Clone Over I duplicate the shoulder pad. With the help of inner lines, I form the ribs.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/463031cd41484502ae2f5ce5e1897f20119e2e0e14f44f71a9a5cbdb4bbcb08a.jpg" class="custom-image original-size" data-id="463031cd41484502ae2f5ce5e1897f20" data-width="1855" data-height="964">When the dress is ready I set Particle Distance 5 for all parts of the dress, and 3 for the smaller parts (buttonholes and pattern).I pose the avatar in DAZ Studio and export it in COLLADA format (.dae). I import it into Marvelous Designer.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/bc603ca41c3c436499376cc14009fa1af4ab7eb664394686ba56600a9d896eee.jpg" class="custom-image original-size" data-id="bc603ca41c3c436499376cc14009fa1a" data-width="871" data-height="614">I save it as A pose.<img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/a7af3556e9c642babc3b27d0115057ce916f4bb492ff49e39eee54a7de234ab6.jpg" class="custom-image medium-size" data-id="a7af3556e9c642babc3b27d0115057ce" data-width="430" data-height="964">Then I delete the imported avatar. You can set Particle Distance 15 for all patterns, for faster simulation. Then I open the saved pose.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/a/12693295.">You can download the fantasy dress file here (LINK).</a><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/f1df679283af4d11a683fe5a8b67d71d7146cf663035444fab598ce73ae12ccc.jpg" class="custom-image original-size" data-id="f1df679283af4d11a683fe5a8b67d71d" data-width="819" data-height="217"><img src="https://storagefiles.clo-set.com/public/community/202501/88b575e1f6aa44d48979f46732490525/images/abbb4c92027e4393b6fa06e1af65933c86ee4fc1aaba4198a425b59105a9484f.jpg" class="custom-image original-size" data-id="abbb4c92027e4393b6fa06e1af65933c" data-width="1516" data-height="943"><h1>6. For the Marvelous Designer NEW learners, can you give any tips or advice?</h1>The Marvelous Designer program is not difficult to master. All the necessary information about interface and functionality is on the Marvelous Designer's <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/user/marvelousdesigner3">YouTube </a>channel. With each new tutorial you watch, it will become easier and easier for you to use the program. Marvelous Designer is an indispensable assistant in creating realistic clothes for your characters and in interior design.<hr>By Nina ChernyshenkoLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/nini_chernyshenko/">Instagram</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/sninoka">ArtStation</a>

Nina Chernyshenko

out fit

<h2 style="text-align: center">Nishas VN, a senior game character artist with over 7 years in the industry and 2 years in graphic design, highlights her expertise in her latest project, Odin Alfiifir.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/2c97a676ece343eab833be53c87d087b79809f6c388744499fea437788232916.jpeg" class="custom-image original-size" data-id="2c97a676ece343eab833be53c87d087b" data-width="7126" data-height="4096"><h1>Interview with NISHAS VN | Odin | Character Artist</h1><h1>Artist introduction</h1>My name is Nishas VN. I'm a senior game character artist with more than 7 years of experience in the Game industry and 2 years experience in graphic design . I've worked on quite a lot of games during the years with the last one being Alan Wake 2.<h1>When did you start using Marvelous Designer and how did that affect your workflow process?</h1>Seven years ago, I ventured into the world of Marvelous Designer. My journey began by immersing myself in online tutorials on YouTube, gradually uncovering its immense potential. This software has revolutionized the fashion and 3D design industries by enabling the creation of lifelike 3D clothing and fabric simulations. Not only confined to fashion, but Marvelous Designer has also started making waves in the realm of gaming. Its integration into games, like the renowned Metal Gear Solid V: The Phantom Pain by Konami and Kojima Productions, showcased the software's versatility and impact beyond traditional design spheres. Witnessing its application in such high-profile projects piqued my interest and solidified my belief in its far-reaching influence.Marvelous Designer has remarkably streamlined my workflow, replacing time-consuming traditional cloth sculpting with hyper-realistic garments in mere minutes. Its extensive library of fabrics allows for the authentic capture of cloth materials, elevating the realism of designs. Moreover, Marvelous Designer not only enhances cloth creation but also significantly expedites other processes, such as high-poly and low-poly UV mapping, ultimately saving valuable time across multiple facets of the design pipeline.<h1>As a student, how much time did you find sufficient to gain confidence in using Marvelous Designer?</h1>I was pleasantly surprised by how easy it was to start using Marvelous Designer, and within a month, I was able to achieve some results. However, to produce high-quality work, you must invest more time in learning shortcuts, selecting the appropriate tool for each situation, and researching information for the tools you are unfamiliar with. If you take a break from using Marvelous Designer for some time, it can feel like starting from scratch again.<h1>Explain the project's creation aspects, including intentions, goals, cloth design approach, and references.</h1>Let me delve into my recent project featuring Odin Alfiifir. This endeavor posed unique challenges, particularly in clothing design, prompting me to explore Marvelous Designer's capabilities beyond traditional garment creation. I aimed to showcase a versatility for readers' benefit In this venture, Marvelous Designer played a pivotal role, not only in crafting the clothing but also in designing elements like the bag, cape, and boots. Often overlooked, Marvelous Designer's prowess extends beyond typical clothing design; it aided me in achieving remarkable results, notably in crafting authentic leather boots. Many tend to underestimate its ability to create such intricate details, opting for sculpting methods that often result in unnatural folds. Marvelous Designer, however, provides a more intuitive and realistic approach to crafting these elements.Prior to diving into the creative process, gathering references is a crucial step. For my personal projects, I typically blend design freedom with inspiration rather than strictly adhering to a specific concept or reference. For this particular endeavor, I drew from a Norse Viking dress as a foundation, embellishing it with numerous additional elements to seamlessly integrate it into a fantastical setting. This approach allowed me to infuse elements of my imagination while retaining the essence of the original Norse design.In my PureRef canvas, I curated a diverse array of costume concept and prop inspirations. This compilation served as a rich tapestry of ideas, guiding me to craft a design that strikes a balance between cohesion and distinctiveness. The goal was to create a unified yet uniquely individualized piece, drawing from various sources to inspire a cohesive and original design.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/c00c834a91a8460f8a65cc66d31e47ad7a7a414fea374a61b7d3c740ea07bd52.jpeg" class="custom-image original-size" data-id="c00c834a91a8460f8a65cc66d31e47ad" data-width="1877" data-height="913"><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/f5c7ac5928484c559aa9e4541d0357c9Odin_2-1.webp" class="custom-image medium-size" data-id="f5c7ac5928484c559aa9e4541d0357c9" data-width="8192" data-height="8192"><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/651f26ee639a426d9ca9dc2d6dece379Odin_2-4.webp" class="custom-image medium-size" data-id="651f26ee639a426d9ca9dc2d6dece379" data-width="2657" data-height="5141">Once I've determined the direction for my creation, it's time to import the base mesh or avatar. While many opt for default avatars in Marvelous Designer, I prefer a more controlled approach. It's crucial to have greater influence and control, as clothing inherently influences the form of the underlying flesh. This detail often gets overlooked. Therefore, sculpting any potential influence is essential to ensure a seamless integration between the clothing and the body underneath.From my experience, I've learned that achieving realistic clothing hinges greatly on the initial fitting of the garments. It's crucial to focus on clean patterns and precise fitting as natural stitching and realistic folds tend to emerge more natural during simulation. I advise limiting the use of pins to necessities, as excessive pinning and forced folds can contribute to an unrealistic feel in the clothing. To maintain authenticity steer clear of excessive pinching or symmetrical folds, aiming instead for balanced and natural drapery. Additionally, when dealing with layered clothing, it's advisable to avoid utilizing the fast (GPU) simulation, Due to complications with layered garments, it's best to avoid utilizing the (GPU) simulation, as it may not effectively handle the complexities inherent in layered clothing.Many decorative elements such as ornaments and weapons were deliberately excluded from Marvelous Designer, as their impact on the clothing simulation was minimal. Hence, I chose not to import these details into Marvelous Designer, opting to address them separately outside the software.<h1>Share your approach to working with Marvelous Designer. What tricks have you discovered to boost efficiency, and what advice would you offer to new users?</h1>Prior to diving into the task at hand, I make it a point to set up the lighting meticulously. Getting the lighting just right is crucial as it significantly amplifies the overall appearance and visibility of folds and wrinkles in the design.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/8368958edd934304a4ea5589d415045dScreenshot_01.png" class="custom-image original-size" data-id="8368958edd934304a4ea5589d415045d" data-width="738" data-height="1138">Constructing the bootI adopt a different approach in crafting boots by initially sculpting a base model in ZBrush, which I later import into Marvelous Designer. Using this base mesh as a guide, I employ the Line tool to delineate the boot's outline, refining it further with the Flatten tool to generate a visible pattern, reflecting in the 2D pattern window. Once the entire boot design is established, I simulate its appearance, utilizing the ZBrush base mesh as the avatar mesh within Marvelous Designer. This methodology allows for precise control over achieving the desired fold Mixture in the design.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/165611acb0f64fd0989ffdb63b952fc0Screenshot_02.png" class="custom-image original-size" data-id="165611acb0f64fd0989ffdb63b952fc0" data-width="1354" data-height="862">My workflow within Marvelous Designer follows a clear path. Initially, I focused on constructing a clean pattern and stitching to generate a blockout file with high particle distance. This blockout serves as the foundation, aimed at refining the fitting precisely without relying on excessive pinching or excess fabric. Once the primary fit is perfected, I progress to the secondary detail stage, decreasing the particle distance to introduce moderate folds and simulate additional intricacies. Finally, in the temporary detail phase, I set a low particle distance to add the final touches and meticulously finalize the file.<h1>Explain your process of moving between Marvelous Designer and other software. How do you prepare your project for a smooth transition?</h1><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/498f532ec867455ea2e12420607be5c0Screenshot_03.png" class="custom-image original-size" data-id="498f532ec867455ea2e12420607be5c0" data-width="570" data-height="616">To convert the Marvelous Designer file into a clean topology, I utilize Maya's Transfer Attributes tool. After exporting, I save two sets of files named boot3D and boot2D. The boot3D file is the direct export from Marvelous Designer, while the boot2D represents the 2D pattern version obtained by right-clicking and selecting "Reset 2D Arrangement." Next, I import the boot2D file into Maya and proceed to create a clean topology using either the Quadraw tool or by employing ZRemesher in ZBrush. Once the retopology process is complete, I save the file as bootretopo. To finalize the transformation, I configure the Transfer AMibutes settings accordingly through the tool's options.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/c931aadfc1e94a71833ea073a7b63a98Screenshot_04.png" class="custom-image original-size" data-id="c931aadfc1e94a71833ea073a7b63a98" data-width="642" data-height="468">Following the retopology process, select the boot2D file first, then the boot retopology file in Maya. Utilize the Transfer Attributes tool and click "Apply" to transfer the UVs from boot2D to boot retopology. Once the transfer is complete, adjust the Transfer Attributes settings as needed to ensure the seamless transfer of UVs between the files.Afterward, right-click and choose "Smooth" to increase the subdivision of the boot reæpo in Maya. Following this, select the boot 3D file first, then the boot reæpo file, and click "Apply" in the Transfer Attributes tool. This action directly transfers the boot retopo attributes to the boot3D file. Next, clear any history by selecting "Edit" and then "Delete by Type &gt; History." You can proceed to remove both the boot3D and boot2D meshes. Export and save the boot retopo mesh. Subsequently, import it into ZBrush and access the Geometry tab, selecting Edge Loop &gt; Panel Loops. Employing this function provides thickness to the boot. Apply "Reconstruit" to revert to lower subdivisions, resulting in a refined and clean high-poly boot mesh.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/f55df1ed216649838dce7bc36508779bScreenshot_05.png" class="custom-image original-size" data-id="f55df1ed216649838dce7bc36508779b" data-width="266" data-height="572"><h1>by&nbsp;Nishas VN <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nishas">ArtStation</a></h1>

Odin

<img src="https://storagefiles.clo-set.com/public/community/202511/395154e240074f28afc22a4afbd79621/images/cd410f9a96d441b8ac1dc345e3bb1104IMG-20251117-WA0003.jpg" class="custom-image hidden-thumbnail" data-id="cd410f9a96d441b8ac1dc345e3bb1104" data-width="720" data-height="1280">Hello I am rendering a camera animation of the garment I made in clo . However instead of png sequence frames , it renders each frame as usual but overwrites the previous png. I am rendering a crucial project and need help asap .

PNG SEQUENCE OVERWRITING!!!

OUTFIT ODIUM 5

Rabbit Balaclava

Basic leg warmers / FV2

S2 Balaclava

Balaclava_Women

Oversized Hooded Puffer Jacket

OUTFIT ODIUM 4

Surreal Spike Balaclava

donsavx

아카데믹 챌린지

Create Your Persona: 3D Character & Digital Fashion

Men's Collection

고양이 후디티 강좌2편에서 우측 속성창과 제 속성창은 왜 다를까요? 버전이 다를리는 없을거 같은데, 참고로 제것을 올려봅니다.<img src="https://storagefiles.clo-set.com/public/community/202511/10a419a9ced24e9682fe4b9b2a3b590b/images/84ea2537561a4d589a5243d3dd8ec0fc1112.jpg" alt="84ea2537561a4d589a5243d3dd8ec0fc" class="custom-image original-size" data-id="84ea2537561a4d589a5243d3dd8ec0fc" data-width="389" data-height="1200">6분 35초쯤에 강의에서 말씀하시는거 제 속성창에서 찾는 방법이 있을까요?

zipper property editor 

Where To Change Ready To Use Avatar Sizes?I loaded an Avatar. File - Open AvatarThen go toAvatar - Avatar EditorI could not see here to choose the avatar sizes (S, M, L, or 38, 40, 42 etc.)I’m trying to find an avatar which is closest to my sisters measurements.Then modify some and try some patterns.???

Where To Change Ready To Use Avatar Sizes?

wedding dress

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<h2 style="text-align: center">Anastasia Kukosh, a student at Think Tank Training Center, showcases her talent and passion for AAA game development with her impressive project, Rasheeda.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/ff2ac3427155486dab31d13d00c4dd216f00ab710c084076afef8f57aadc93eb.png" class="custom-image original-size" data-id="ff2ac3427155486dab31d13d00c4dd21" data-width="1019" data-height="720"><h1 style="text-align: center">Interview with Anastasia Kukosh | Rasheeda | Character Artist</h1><h1>Artist introduction</h1>My name is Anastasia Kukosh, I am a student at Think Tank Training Center. My passion for the arts started in my childhood, then I joined the Master's degree in Fine Art. After this formation, I began my journey in 3D modeling less than a Year ago. My goal is to join the future industries of the new generation of AAA Games. I used different softwares in my workflow, one of them is Marvelous Designer.<h1>When did you start using Marvelous Designer and how did that affect your workflow process?</h1>I started using Marvelous Designer at Think Tank about three months ago when we were given an exercise to make a leather jacket. During the exercise, we learned about insert offset lines, layers, pressure levels, and more.For my final project in the second term, I decided to choose a character with clothing to gain a better understanding of the workflow. It turned out to be a great and successful experience where Marvelous Designer helped me solve half of the problems that I was worrying about.<h1>As a student, how much time did you find sufficient to gain confidence in using Marvelous Designer?</h1>I was pleasantly surprised by how easy it was to start using Marvelous Designer, and within a month, I was able to achieve some results. However, to produce high-quality work, you must invest more time in learning shortcuts, selecting the appropriate tool for each situation, and researching information for the tools you are unfamiliar with. If you take a break from using Marvelous Designer for some time, it can feel like starting from scratch again.<h1>Explain the project's creation aspects, including intentions, goals, cloth design approach, and references.</h1>After studying at Think Tank for 7 months, I decided to use the concept of Maisie Mei's "Rasheeda - Holy Maiden". As I only had a month to complete it, I had to work fast and determine which parts would be the most time-consuming. Since I had no prior experience in character creation, I assumed that designing clothing and retopology would be the most challenging aspects.The main goals were to use the right workflow, mastering fabric texturing,rendering in Marmoset Toolbag, achieving a lifelike facial representation, and to try working with hair cards.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/1dc4493728b6413c87905a877f801d4c3215c992df88473abf40cca2e08ab566.jpg" class="custom-image original-size" data-id="1dc4493728b6413c87905a877f801d4c" data-width="1920" data-height="1120"><h1>Share your approach to working with Marvelous Designer. What tricks have you discovered to boost efficiency while building the hat?</h1>I think that using Marvelous Designer is a good way to quickly and accurately block out the character's shape and simulate it in 3D space. If I like how it looks, I can then proceed to add more detailed features or move to other programs, like ZBrush.1. When I start a project, I begin by creating a mood board. This board contains a lot of visual information about the project, and I conduct my research using various platforms such as Google, Pinterest, and Artstation. I have a dedicated section on the board for clothing, where I gather patterns, textures, and information on how the clothes move, among other things.2. In Marvelous Designer, I begin by importing my custom model onto the canvas. Then, I create the garment by crafting simple shapes while referring to real clothing garments for inspiration. This helps me avoid making errors and ensures folds are accurate. Sometimes, I use frozen parts of the mesh to achieve specific shapes. My workflow in Marvelous Designer involves importing a custom model onto the canvas and creating basic patterns to form the foundation of the garment.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/2efef112278b48c097d4a88bf59d1317c8607c91a6e9408daf3a1853eb70dadf.png" class="custom-image original-size" data-id="2efef112278b48c097d4a88bf59d1317" data-width="602" data-height="343">I conduct research and draw inspiration from existing designs to enhance the authenticity of my garment's construction. Emulating natural folds and drapes often yields more realistic results compared to attempting to replicate them from your head.Additionally, I occasionally leverage frozen parts of the mesh to manipulate and achieve unique shapes.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/0a27537be9be4ce98b39b642e7ac8bf8c559b84df0d94c52a7b8b76bb775fff7.png" class="custom-image original-size" data-id="0a27537be9be4ce98b39b642e7ac8bf8" data-width="258" data-height="232">Hat ModelingFor faster results, I created a low poly hat and achieved a fabric look through texturing alone, without using HighPoly. The process was significantly faster and produced satisfactory results.I used Marvelous Designer to create folds on a piece of fabric. Then, in ZBrush, I used RMGBZGrabber to create an alpha. I used this alpha as a height mask in Substance Painter.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/f4f65f0d364b4e0ebd678261cc6f483d2522472b486946de80e4b9a9ad52d1fc.png" class="custom-image original-size" data-id="f4f65f0d364b4e0ebd678261cc6f483d" data-width="451" data-height="131"><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/3b7d84ffc6ac4289b510f6cb5737416bd3c0a2a5caf94afda54095472375eed4.png" class="custom-image original-size" data-id="3b7d84ffc6ac4289b510f6cb5737416b" data-width="902" data-height="544"><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/c14b13335b8241b0b185a6e363b7998e520df7c9cc684988835e0b7e0f5cb0b6.png" class="custom-image original-size" data-id="c14b13335b8241b0b185a6e363b7998e" data-width="598" data-height="161"><h1>Explain your process of moving between Marvelous Designer and other software. How do you prepare your project for a smooth transition?</h1>For me, the quickest method was to export garments with UVs from Marvelous and reconstruct them in Maya before working on them in Zbrush. This way, I can preserve the UVs for baking. Additionally, I created most of the fine details such as seams, fabric structure, and microfolds in Substance.Here are the steps:Organize UVs for export and ensure no overlap for retopology.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/4a0f4fa1366b495e880111f3cc035ee7757714d261104bc0b61274f99f2569df.png" class="custom-image original-size" data-id="4a0f4fa1366b495e880111f3cc035ee7" data-width="902" data-height="524">Export simulated dress with UVs with particles distance 5.0.or lessSelect the all garment, right click →“Quadrangulate” with particle distance 20.0<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/2db4d293e69d4344aef33bf93e4e74ac304b95be7bc841edba5b10964a69c7be.png" class="custom-image original-size" data-id="2db4d293e69d4344aef33bf93e4e74ac" data-width="606" data-height="644">Make All mesh flatten and export it→ (Reset 2D arrangement all)<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/78d9951d2f2445b3a7e0b5a216d2a447f9cb5aebdd9a44a9ac776cadcb41f015.png" class="custom-image original-size" data-id="78d9951d2f2445b3a7e0b5a216d2a447" data-width="902" data-height="556">Import to Maya both versions from Marvelous Designer and the Avatar character.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/0b6f863113e34d108332cae5b754ba2112cdabe9711c470bba28f3efe4addd69.png" class="custom-image original-size" data-id="0b6f863113e34d108332cae5b754ba21" data-width="902" data-height="510">Prepare the Flatten Version to Retopology (Tip: Duplicate your flatten version and make live surface).<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/3d5d5f9a214f4197af38913253552ff7d44c446506194b2b96d533a128f248ca.png" class="custom-image original-size" data-id="3d5d5f9a214f4197af38913253552ff7" data-width="602" data-height="101">Transfer your Uvs from the old flatten version to the retopology one. (Tip: Use Transfer Attributes)<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/b5cd90430d7340ccbf1bec90b340360e2912162b551c487ab9dac56548d435b6.png" class="custom-image original-size" data-id="b5cd90430d7340ccbf1bec90b340360e" data-width="744" data-height="520">Transfer the vertices position of the simulated one on the flatten retopology to finally have a lower clothes resolution simulated.Smooth this low version and transfer vertices again (step 8) to have a defined Hight poly.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/dbf2a4d5bcdf47539c5963aea8155d3133f2688f2c9f426e98bde3d2f815336d.png" class="custom-image original-size" data-id="dbf2a4d5bcdf47539c5963aea8155d31" data-width="902" data-height="520">Import Into Zbrush and Reconstruct SunbD and Autogroup it. So here we have ready Mesh to work on with High poly and Low poly.<img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/659b5fad114b4c97b0c1620a9224f84891d66b95371642f580f887156fb17590.png" class="custom-image original-size" data-id="659b5fad114b4c97b0c1620a9224f848" data-width="407" data-height="158"><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/2493078363a1497ab5e26fd6fb3a6916efc9f7811786476bb4ac4c8ed0e2f191.png" class="custom-image original-size" data-id="2493078363a1497ab5e26fd6fb3a6916" data-width="602" data-height="308"><h1>How can you describe your overall experience of the use of the Marvelous Designer?</h1>I am very happy about using Marvelous Designer! Without it, it would’ve been difficult for me to achieve this result in just one month. The more I use it, the better it gets. Work speed is faster and provides a solid foundation for sculpting. Definitely Marvelous Designer must be in use in my work.<h1>by&nbsp;Anastasia Kukosh <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nastyakukosh">ArtStation</a></h1>

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Marvelous Designer Official