<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/d3489ff92af94c129480a4fe9e9bad56ss25..pres18210-2%20%281%29.png" class="custom-image hidden-thumbnail" data-id="d3489ff92af94c129480a4fe9e9bad56" data-width="1850" data-height="2297"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/c0-qOFW6r7w?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><h3>Welcome back, Lane! It's great to have you again. Last time, we discussed a single, iconic piece that made it to the Met. Now, you're here to talk about a full collection for your own brand, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.vanestudios.com/">Vane Studios</a>. To start, could you introduce the core identity of Vane Studios and the story you wanted to tell with this new Summer Collection?</h3>At its core Vane Studios is a brand steeped in americana, focused on inventive craftsmanship, and anchored by telling a story of multifaceted professionals in today's global world.&nbsp; Drawing inspiration from the past and reinterpreting those references for a modern and even futuristic take, we’ve coined the term “evolving heritage” - our US identity and history is important to us but we also believe in the open mindedness to allow new experiences to adjust our ways of thinking - that often results in us gaining inspiration from from sources outside the US and often leads us to aim for connections between our western experience and those from the rest of the world.&nbsp;This Summer Collection was really an exploration of the mundane. I started with the classic ‘beater’ tank as inspiration for our cut-and-sew knits, and paired that with summer traditions like BBQs, afternoons in the park, and time spent with loved ones. From there, we wanted to reimagine some classic codes of dressing into hybrid, multifunctional pieces—like combining a tailored jacket with a camp shirt, or adjusting a women’s suit jacket to have an A-line hem sweep. It’s about taking what feels ordinary and reshaping it into something quietly inventive.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/459b40a1251c4bd9b8286a24232862f8vane%20ss25.%20a%20vane%20summer4%20%281%29.png" alt="459b40a1251c4bd9b8286a24232862f8" class="custom-image large-size" data-id="459b40a1251c4bd9b8286a24232862f8" data-width="3009" data-height="1947">What specific stories or character archetypes inspired this Summer Collection? How did you translate those abstract concepts into tangible design elements like silhouettes, fabrics, and color palettes?Our mantra at Vane is distinguished clothing for the multi-faceted professional. For one of the men’s looks, I imagined an accountant who moonlights as a drummer. The professionalism comes through in the matching pants and jacket fabric—like any good suit should—but the drummer side brings in movement. Instead of a fitted top or straight-leg trousers, you get these larger, billowing silhouettes that nod to the zoot suit.The fabric choices were practical for summer, while the color palette was an intentional inversion of my last collection, which leaned very dark navy. This time I wanted lightness, but I kept a cobalt blue running through the pieces as an ode to jazz, blues, and African American music history. From James Baldwin’s Sonny’s Blues to Jaymes Samuel’s blue dancer in The Harder They Fall, that crisp royal blue has always symbolized vintage Black American music to me, particularly Jazz.Right now, I’m in my jazz era as a designer. <img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/7064e38179a640bab969c059a3f2a0advane%20ss25.%20a%20vane%20summer%20process%20page%20%281%29.png" alt="7064e38179a640bab969c059a3f2a0ad" class="custom-image large-size" data-id="7064e38179a640bab969c059a3f2a0ad" data-width="5100" data-height="3300"><h3>Designing a full collection is a different challenge than creating a single accessory. Could you walk us through your creative workflow in CLO for this project? How did you manage the process from the initial mood board to the final, cohesive set of garments?</h3>To be honest, the mood board actually came together after the collection was built—it was more of a way to contextualize everything once I started thinking about presentation. The process itself started with iterating on some of my previous styles. The first piece I developed was the K-top, which uses a back/sleeve yoke I had patterned in an earlier collection. I’ve been experimenting with reintroducing that yoke across different garments.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/2e3764298c7c4a2ca92fa2261e621724vane%20K-top.png" alt="2e3764298c7c4a2ca92fa2261e621724" class="custom-image large-size" data-id="2e3764298c7c4a2ca92fa2261e621724" data-width="5100" data-height="3300">The real spark came from a photo from my girlfriend at the time wearing one of our crewnecks tied at the waist. I wanted to deconstruct that crewneck into a more femme top. So I jumped into CLO, draped the crewneck onto a female avatar, and started cutting and experimenting with pattern manipulations until I found a solution I loved.From there, it was about expanding the rest of the wardrobe to match.&nbsp;The woven styles came from silhouettes I had already developed, but I re-cut them in new fabrics, adjusted their lengths and construction, and added new trims to give them a new life. That combination of reworking existing elements and experimenting digitally in CLO is what helped the collection come together as a cohesive whole. <img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/e92605d951b94b26bea8be99cbc8c086H%26S%20summer%20jacket.png" alt="e92605d951b94b26bea8be99cbc8c086" class="custom-image original-size" data-id="e92605d951b94b26bea8be99cbc8c086" data-width="932" data-height="860"><h3>Summer collections often feature lighter, more fluid fabrics like linen or silk. How did you utilize CLO's fabric properties and simulation tools to perfect the drape, movement, and feel of these specific materials? Were there any particular settings or techniques that were key to achieving a realistic summer look?</h3>This was actually my first time using the VMOD Library to scan the physical fabrics I had chosen and bring them into CLO. I know CLO also has its own digitizing technology now, which I think is hugely important for the development of CLO’s use within the industry, so that is really great!Having them digitally recreated made a huge difference. As I toggled between high-res and low-res rendering, I started noticing small kinks in my patterns that I might have missed otherwise. On the men’s KJ trousers, for example, there was a curve at the inseam—coupled with the inseam dart—that created an awkward point around the knee. When I cut that style in a heavier fabric before, it never showed up—but in the lighter linen it was really obvious. The high-res drape in CLO let me catch and fix that issue before we cut the final garments.Another big advantage was that VMOD provides digitized fabrics with substance texture files. That was key for me, because I wanted to use 3D renders for our website instead of doing a traditional studio e-comm shoot. The depth and realism in those textures really brought the digital garments to life on screen, and made them feel much closer to how they look in person.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/7282e61fcb2e48e1aa11a79540fa63c8vane%20studios%20a%20making%20of%203.PNG" alt="7282e61fcb2e48e1aa11a79540fa63c8" class="custom-image large-size" data-id="7282e61fcb2e48e1aa11a79540fa63c8" data-width="2096" data-height="1179">Did this collection push you to use any CLO features you hadn't relied on as heavily before? For instance, did tools like the Modular Configurator, Print Layout mode, or specific avatar functionalities play a bigger role in designing a multi-piece collection?I’ve always used the avatar editor in CLO to test different sizing, but this collection really pushed me to lean into it more. One of the key pieces, the K-top, has an open side seam that drapes down from the shoulder. It lays across a woman’s chest, but it’s not necessarily anchored in place. CLO’s ability to adjust the female avatar’s cup size was a new tool for me, and it came in really handy here.Being able to see how the top would fall across different cup sizes influenced a few subtle decisions in the cut of the garment. It also gave me more confidence when talking to friends or customers about how the piece might perform on their body type. For me, that’s where CLO is becoming really valuable—not just for development, but for fit communication and customer service as I continue to grow the brand.Is the Vane Studios Summer Collection intended to be a purely digital showcase, a direct blueprint for physical production, or a hybrid of both? What is your strategy for how this collection will meet its audience?This Summer Collection is really a hybrid of both digital and physical—like most of the developments I do in CLO. We’ve actually sampled and produced the pieces made-to-order here in New York City, and we’ve already shot a campaign with photos and video. We actually just presented the physical collection to close friends of the studio.For me, CLO is always a direct blueprint for physical production, but I’m also excited to push further into purely digital showcases. That’s something I definitely see myself exploring more in the next drop. <img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/efeb82210f7948128b05bd8ffb7e8b3bvane%20studios%20a%20making%20of%209.PNG" alt="efeb82210f7948128b05bd8ffb7e8b3b" class="custom-image large-size" data-id="efeb82210f7948128b05bd8ffb7e8b3b" data-width="2096" data-height="1179"><h3>What steps did you take within CLO to ensure that these digital garments are not just beautiful renders, but are also practical and production-ready patterns?</h3>In CLO, I really focused on making sure the patterns were production-ready. That meant marking all my sewing notches, double-checking that seam lines matched exactly, and ensuring each style had the proper balance. Those details are what make a pattern ready to run smoothly on a sewing machine.Of course, the process is never just digital—it’s always a dialogue between CLO samples and physical prototypes. For example, the linen silhouettes in this collection are styles I’ve been refining over a couple of years through multiple iterations, both digital and physical. That back-and-forth is what gives me confidence that the garments aren’t just beautiful renders, but patterns that truly work in production.<img src="https://storagefiles.clo-set.com/public/community/202510/1b549d383608474f8da30c2e528e90f9/images/9f477434f6c643509e35b93581127813H%26S..summer..jacket..solo_0-web1620x1080U100.jpg" alt="9f477434f6c643509e35b93581127813" class="custom-image large-size" data-id="9f477434f6c643509e35b93581127813" data-width="1080" data-height="1620"><h3>What was the biggest new challenge you faced when creating this collection? Perhaps it was maintaining a consistent vision across multiple pieces, or a technical hurdle you had to overcome. How did you solve it?</h3>The biggest challenge in this collection was the H&amp;S summer jacket. It’s a pretty complex construction, and not very traditional. Originally, I patterned the full-length lapel as a fold line with a large dart running down the center front. It worked fine in CLO, and I was even able to sew a first iteration myself, but when I sent the new linen version to my factory partner, they really struggled to sew it symmetrically. Even after trying different fusible, they told me the pattern just wasn’t very operator-friendly on the machine.So I took a step back and reworked the design, breaking the lapel into cut lines and seam lines at the collar and center front. That adjustment simplified the construction significantly—and as a bonus, it actually made the fitting process smoother too.<h3>Finally, for the many designers using CLO to build their own brands, what is one key piece of advice you’d give them about moving from single portfolio pieces to designing and presenting a full, cohesive collection?</h3>My biggest piece of advice is: don’t try to reinvent the wheel with every collection. One of the best lessons I’ve received is that new collections should be about 80% continuation from your last one, with 20% newness. When you’re working on single portfolio pieces, think about building them from base patterns that you can use in multiple ways. Save those clean base patterns before you add all the bells and whistles. Over time, you’ll build up a repository of patterns that fit your aesthetic and your model well—and as a one-person design team, that’s what allows you to iterate and bring new ideas to life quickly.That’s exactly how I approached this Summer Collection. It was an exploration of the mundane, starting with the classic ‘beater’ tank and summer traditions like BBQs and time in the park. From there, I consolidated those familiar codes of dressing into hybrid, multifunctional pieces like combining a tailored jacket with a camp shirt, or merging a women’s suit jacket with an A-line skirt sweep. It’s about using what you already know, then pushing it just far enough to feel new.

From a Single Piece to a Full Collection: Lane's Journey with Vane Studios

I want to send the 3D screen to my iPad from my Macbook.How to do this?

How Setup Clo3D To Use It On The Two Different Screens On Macbook

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Collection A

Timeless Fairway

KOFOTI_Female_Patterns

Every Style Tells a Story

When I double click on files I have previously saved in CLO3D , the files open as empty. Only when I drag and drop the empty file, the file appears, but this makes the file opening time much longer. (CLO3D version 2025.0.324)Do you have this problem too?<img src="https://storagefiles.clo-set.com/public/community/202506/d16b40e22a1d4b4ab311be76b06d1c0f/images/8bf07fc9ffa6482580bd865f16464bccEkran%20g%C3%B6r%C3%BCnt%C3%BCs%C3%BC%202025-06-16%20215844.png" alt="8bf07fc9ffa6482580bd865f16464bcc" class="custom-image original-size" data-id="8bf07fc9ffa6482580bd865f16464bcc" data-width="1482" data-height="964"><img src="https://storagefiles.clo-set.com/public/community/202506/d16b40e22a1d4b4ab311be76b06d1c0f/images/22476ea28fae49449e9489fa137285edEkran%20g%C3%B6r%C3%BCnt%C3%BCs%C3%BC%202025-06-16%20220509.png" alt="22476ea28fae49449e9489fa137285ed" class="custom-image original-size" data-id="22476ea28fae49449e9489fa137285ed" data-width="1303" data-height="849">CLO3D version 2025.0.324)

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<h2 style="text-align: center">A BAFTA-winning game studio, Supermassive Games showcased various character outfits in their games using Marvelous Designer.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/b63b10d7e5e64482a041ff72f976e369Amy_Cloak_Bust_1.webp" class="custom-image original-size" data-id="b63b10d7e5e64482a041ff72f976e369" data-width="4500" data-height="2800"><h1>Studio and Artist introduction</h1>Supermassive Games are a BAFTA-winning game studio founded in 2008, developing innovative storytelling games. They have released a number of successful titles and are best known for the critically acclaimed PS4 hit Until Dawn, The Dark Pictures Anthology - a series of stand-alone, horror games - and teen-horror game The Quarry. Their most recent releases are The Devil in Me - the season one finale of The Dark Pictures - and Switchback VR on PS VR2.<h1>Andor Kollar (Senior Character Artist)</h1>As a character artist at Supermassive Games, I use Marvelous Designer in the character creation pipeline. Marvelous Designer has been a very useful tool for The Dark Pictures Anthology. It can simulate beautiful clothing with realistic creases. In this article, I'd like to show you some character examples from the Little Hope and The Devil in Me games.<h1>How is Marvelous Designer integrated into the project pipeline? Could you explain your workflow for making the assets Unreal Engine-ready?</h1><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/8f743392894340eaaea305fc3bf61b25Andrew_Full-Body_1.webp" class="custom-image original-size" data-id="8f743392894340eaaea305fc3bf61b25" data-width="6260" data-height="7680">Andrew – Little HopeI usually focus first on Marvelous Designer to help create the base of the cloth, then I manually add the small details.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/5b49fe61675f4186974f92eeadd7bfafAndrew_MarvelousDesigner%20v.1.png" class="custom-image original-size" data-id="5b49fe61675f4186974f92eeadd7bfaf" data-width="1920" data-height="2073">The base of the detailed ZBrush mesh is the simulated hoodie in Marvelous Designer.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/57266e7b6ac84cccb2d1caaa8e63cc11Andrew_Hoodie_ZBrush.webp" class="custom-image original-size" data-id="57266e7b6ac84cccb2d1caaa8e63cc11" data-width="3500" data-height="1900">The final character in Unreal Engine.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/d64b8d7a9e344966960a0b27b18f10f7Andrew_Hoodie%20v.1.png" class="custom-image original-size" data-id="d64b8d7a9e344966960a0b27b18f10f7" data-width="1920" data-height="2797"><hr><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/e6c891db484849ca89f908e8fc1f99beMary_Cloak_Full-Body_2.webp" class="custom-image original-size" data-id="e6c891db484849ca89f908e8fc1f99be" data-width="3000" data-height="3840">Mary – Little Hope <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/7ea2214d868c45eda513be38dfe10db7Mary_Marvelous-Designer_2.webp" class="custom-image original-size" data-id="7ea2214d868c45eda513be38dfe10db7" data-width="1002" data-height="864">Mary has a character variant with a cloak. I used the standard Mary character as an avatar. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/8f437d1101bb4fda8563bedc7103d7f4Mary_Marvelous-Designer_1.webp" class="custom-image original-size" data-id="8f437d1101bb4fda8563bedc7103d7f4" data-width="1808" data-height="889">(I did these characters in an older version of Marvelous Designer. The new version has more tools for retopology which could now be used instead.) It is crucial that the final game mesh should have a proper clean edge flow which supports the rigging and future in-game cloth simulation. Here I show what I found to be one of the best workflows to achieve this. Marvelous Designer is based on sewing patterns like the work of a real tailor, which increases the realism if the pattern is correct. The UV should be the same as in the pattern editor, and it is important to export an unwelded geometry without thickness in real-world scale.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/c4f3ec9350b649eb9b53b16dd2db2dfcMarvelous-Designer_Retopology_1.webp" class="custom-image original-size" data-id="c4f3ec9350b649eb9b53b16dd2db2dfc" data-width="1118" data-height="927">I am using the Couture tool for the retopology process. The final geometry is very clean, maintaining the shape of the cloth which was simulated in Marvelous Designer. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/c6ef6622d1854d67bb13fb09b3907e70Marvelous-Designer_Retopology_3.webp" class="custom-image original-size" data-id="c6ef6622d1854d67bb13fb09b3907e70" data-width="1874" data-height="936">Using ZRemesher on the 3d mesh could be good in certain cases, but I can make a cleaner edge flow if I use UV based mesh for the retopology instead of this. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/03f11967b98e485c8191fbd0c6fed912Marvelous-Designer_Retopology_2.webp" class="custom-image original-size" data-id="03f11967b98e485c8191fbd0c6fed912" data-width="940" data-height="940">I make a flat UV based mesh with Couture, then I can use ZBrush or Maya to create a very clean retopology. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/775454b6201b45949801d9d310934daaMarvelous-Designer_Retopology_4.webp" class="custom-image original-size" data-id="775454b6201b45949801d9d310934daa" data-width="1780" data-height="800">I wrap the retopologized flat geometry with Couture to the 3d mesh. So finally, I have the same shape as the simulated cloth and the same UV as the Marvelous Designer sewing pattern, just with clean geometry.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/c5aa7077f0d54f3dae96b7b19e4ae926Marvelous-Designer_Retopology_5.webp" class="custom-image original-size" data-id="c5aa7077f0d54f3dae96b7b19e4ae926" data-width="2323" data-height="889">After the mesh is cleaned up, I make some additional sculpting and this is the detailed ZBrush mesh.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/308cbd074cb64df6a15d8dbae549532eMary_Cloak_ZBrush_3.webp" class="custom-image original-size" data-id="308cbd074cb64df6a15d8dbae549532e" data-width="5400" data-height="4000">Marvelous Designer is also useful for creating realistic knots. Understanding the shapes is important, so I think it increases the realism if I follow how the cloth would behave in real life. I find it helpful to use the red pinpoints to create the desired shape. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/4d8b98e8570241d1b69fbc55535b50abMary_Ribbon%20v%2C1.png" class="custom-image original-size" data-id="4d8b98e8570241d1b69fbc55535b50ab" data-width="1920" data-height="3319"><hr><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/3fd30ccba3c64cf8a894b22633f43f0eAmy_Cloak_Full-Body.webp" class="custom-image original-size" data-id="3fd30ccba3c64cf8a894b22633f43f0e" data-width="3000" data-height="3840">Amy – Little Hope<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/04a0c30a769343928fb88d29bc94b744EMMA%20%EC%9A%94%EC%B2%AD%201%20v.1.png" class="custom-image original-size" data-id="04a0c30a769343928fb88d29bc94b744" data-width="1920" data-height="4827">Marvelous Designer was extremely useful for making the medieval costume and the hood.Finally, the game mesh has very clean geometry, which is important for nice texturing, rigging and possible in-game cloth simulation. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/1664bded311949d3ac449b29b1af2e12Amy_Wireframe_2.webp" class="custom-image original-size" data-id="1664bded311949d3ac449b29b1af2e12" data-width="1600" data-height="944"><hr><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/427c3fe74cb04e27b91b02bf327f2093Anthony_Full-Body_1.webp" class="custom-image original-size" data-id="427c3fe74cb04e27b91b02bf327f2093" data-width="6260" data-height="7680">Anthony – Little Hope<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/37cf593001654473b16bc2846e3a27e5Andrew_Trowsers%20v.1.png" class="custom-image original-size" data-id="37cf593001654473b16bc2846e3a27e5" data-width="1920" data-height="3071">Marvelous Designer gave me a good base for this character.<hr><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/70a8d5c1b0e74b5c9e7fc4a18a456339Erin_Full-Body_1.webp" class="custom-image original-size" data-id="70a8d5c1b0e74b5c9e7fc4a18a456339" data-width="6000" data-height="7680">Erin – The Devil in Me I used a lot of red pinpoints for the rolled up sleeve of Erin’s jumper. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/414c96c12c874953aea01799c272af87Erin_Marvelous-Designer_1.webp" class="custom-image original-size" data-id="414c96c12c874953aea01799c272af87" data-width="1452" data-height="889"><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/4931c6d4547642c8ac41e436b9dac040Erin_Jumper_2.webp" class="custom-image original-size" data-id="4931c6d4547642c8ac41e436b9dac040" data-width="4000" data-height="2537">Erin’s skirt is a good example, where if my UV follows the Marvelous Designer sewing pattern exactly, then I can easily add a striped fabric without distortion and stretching – exactly as it would be for the real fabric. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/9a5bdf1ff8c94928a2bda476336afa31Erin_Kirt%20v.1.png" class="custom-image original-size" data-id="9a5bdf1ff8c94928a2bda476336afa31" data-width="1920" data-height="2722">Making the leather jacket, I simulated only the creases on the sleeves of the jacket. I wanted to get certain diamond shaped creases which is why I used many pin points. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/bd9a4a76f44b4edcb92b74b1fd930d6fErin_Marvelous-Designer_2%20%281%29.webp" class="custom-image original-size" data-id="bd9a4a76f44b4edcb92b74b1fd930d6f" data-width="1084" data-height="889">I made a clean high poly mesh in Maya as the base of the low poly game mesh, so I did not need to use retopology in this case. I projected the Marvelous Designer cloth manually in ZBrush with the ZProject brush. <img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/5152a971736d4a538372c7a18e2399bcErin_Jacket_Maya.webp" class="custom-image original-size" data-id="5152a971736d4a538372c7a18e2399bc" data-width="1600" data-height="900"><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/1e342fe016914c05a7e1443d0fe1d450Erin_Jacket_ZBrush.webp" class="custom-image original-size" data-id="1e342fe016914c05a7e1443d0fe1d450" data-width="1370" data-height="1500">This is the result in Unreal Engine.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/f258b5204d7d46c38e53d005d1c10c37Erin_Jacket_1.webp" class="custom-image original-size" data-id="f258b5204d7d46c38e53d005d1c10c37" data-width="5000" data-height="3646">Animatronic Patient – The Devil in Me<hr>Sometimes I use more collision objects for the simulation and not only the human body itself. I created the gown in A-pose in Marvelous Designer, but for realistic cloth simulation, I animated the sitting character to the chair together with the cloth. To achieve this, I imported the FBX animation into Marvelous Designer.<img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/1df2bf79d07b490280a50a989b99dfe0EMMA%20%EC%9A%94%EC%B2%AD%202%20v.1.png" class="custom-image original-size" data-id="1df2bf79d07b490280a50a989b99dfe0" data-width="1920" data-height="6350"><h1>Which features do you want to see from Marvelous Designer in the future version?</h1><img src="https://storagefiles.clo-set.com/public/community/202412/b59b8f5f779e4b479877aa565e98404a/images/ea55a1a7587e4a948fece56d151ea133Marvelous-Designer_Presets.webp" class="custom-image original-size" data-id="ea55a1a7587e4a948fece56d151ea133" data-width="864" data-height="535">I see it as a great user-friendly thing that we finally have a cloth library with example images, but I think it would be really useful if Marvelous Designer had more and better physical property presets (wool, jeans, silk, leather, cotton…). I have one of the best desktop CPU on the market (i9-13900K), but unfortunately Marvelous Designer is using only 10-40% of my CPU when I change the particle distance, or I simulate the cloth. The GPU simulation is quite fast, but it would be good to get a better core optimization for the CPU. <h1>Which advice would you give to users who are just beginning to use the software?</h1>I think Marvelous Designer is very user-friendly software that is easy to learn. But the majority of character artists are not tailors, so I recommend studying how real sewing patterns look and understanding their logic to get a proper cloth simulation. I think Marvelous Designer asset store is also useful because we can learn how others make certain clothes. I also recommend watching a lot of Marvelous Designer tutorial videos.

Mahdieh Rohanin

Mahdieh Rohanin

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