<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/1f7f0a3eddcf49d0bf364a01d959c66e/images/36e6ab6a2bbc4720bc4f98b07c2a3e78Header_thumb%20%2812%29.png" class="custom-image hidden-thumbnail" data-id="36e6ab6a2bbc4720bc4f98b07c2a3e78" data-width="1240" data-height="652">Artist Mendy BM reimagines Tuxingsun from Investiture of the Gods with Marvelous Designer, bringing every stitch and detail of the costume to life.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/94e2c64fffd44e43bae3e53e056e16e2Tx_mendy-bm-skin-color.jpg" class="custom-image original-size" data-id="94e2c64fffd44e43bae3e53e056e16e2" data-width="2048" data-height="2040"><h1 style="text-align: center">Interview with Mendy BM | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/V28Jk8">Tuxingsun</a>﻿ | Game Character Artist</h1><hr><h1>Could you please introduce yourself to the Marvelous Designer community members?</h1>Hi everyone! I'm Mendy BM, game character artist from Brasil, based in Spain. I started my professional career creating modular digital humans for medical learning, and since 2022, I've been working in the game industry, creating fantasy characters and creatures for games.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/c150fb25bbe144929c0d906351c131fe1_mendy-bm-Dark-Elf.jpg" class="custom-image original-size" data-id="c150fb25bbe144929c0d906351c131fe" data-width="1730" data-height="1730"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/e3413a1a2205468aa386c517f4e6fad01_mendy-bm-mendybm-ecorche.jpg" class="custom-image original-size" data-id="e3413a1a2205468aa386c517f4e6fad0" data-width="1280" data-height="1707"><h1>Please tell us about the project. What inspired you to choose Tuxingsun from the Chinese literature Investiture of the Gods as your project?</h1>Since the beginning of my career, I've been following <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/tianhuaxu">Xu Tianhua</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/yangqi917">Yang Qi</a>. Their work is a great inspiration for me. "Tuxingsun" concept made by Xu Tianhua, always caught my attention with his little body and unique face features. At the research stage, to know more about the backstory of the character, I found John Zhu's Chinese Lore Podcast, where he retells classic Chinese literature in English, and I fell in love with it. China has a millenary culture, which has many of the biggest inventions in the humankind history, and I'm very interested to know more, especially about their art.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/2d3da966582b434784dd157086d20d2f1_mendy-bm-Tuxingsun.jpg" class="custom-image original-size" data-id="2d3da966582b434784dd157086d20d2f" data-width="2048" data-height="2048"><h1>How did Marvelous Designer assist you in realizing the vision for Tuxingsun's costume? Did you use any specific features or techniques that helped bring authenticity to the fabric and clothing design?</h1>I started the Tuxingsun project to familiarize myself with Marvelous Designer and I found incredible the possibility to work with sewing patterns, like is done in real-life cloth industry. Also, being able to work on the 2D pattern window and see the changes in real time, at the 3D window, is something extremely handy and powerful for recreating cloth designs. Additionally, there are a great number of fabric presets available, experimenting with it is so important to bring authenticity to the fabric, as well as finding the right pattern for it.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/152355aa363e4e66b69ef467e385827cTx_mendy-bm-camisa2.jpg" class="custom-image original-size" data-id="152355aa363e4e66b69ef467e385827c" data-width="1920" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/aa8be76704134d2b83b764b1fa19a134Tx_mendy-bm-pano1.jpg" class="custom-image original-size" data-id="aa8be76704134d2b83b764b1fa19a134" data-width="1920" data-height="1920"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/8014037f03ee4f9db2e546bbb932a485Tx_mendy-bm-front.jpg" class="custom-image original-size" data-id="8014037f03ee4f9db2e546bbb932a485" data-width="1920" data-height="1920"><h1>Can you give us a quick overview of the different tools used in your pipeline?</h1>When I start a project, I spend a good amount of time finding good references, then, I use PureRef to make the reference board, selecting just a few images on each topic.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/aa7777cfe41e41869d56b0a7041ec0a84_PureRef_Tuxingsun.jpg" class="custom-image original-size" data-id="aa7777cfe41e41869d56b0a7041ec0a8" data-width="1478" data-height="942">After that, I go to Zbrush, to sculpt the character's and prop's basic shapes, with all my attention on proportions and silhouette. On personal projects, at this stage, I make pauses every now and then, to rest the eyes and be able to see clearer the results I'm getting, furthermore I often use Krita to make "correction" drawings on screenshots of Zbrush.Once I got a result I'm happy with, I moved forward to create the garments at Marvelous Design, taking advantage of its incredible cloth simulation power. After that I returned to Zbrush, and created the high poly version of everything, refined some folds and added all the details.Following, I used 3D Max to create the low poly version of the character and then imported it on RizomUV to work on the UVs. Finally, on Adobe Substance Painter, imported the lowpoly, and did the bakes and textures for the whole character.For rendering and final testing, I tend to use Marmoset Toolbag and Unreal 5.<h1>What challenges did you face during the creation process, and how did you overcome them?</h1>For me it was the number of layers, making the garment without the pieces intersecting with each other was complicated and the "freeze" tool was very important to overcome this challenge. I had to freeze and unfreeze the cloth elements many times, going back and forward, activating the simulation to create the folds that I wanted, and simultaneously, trying to maintain the elements hierarchy.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/d2786d02057c4077b7888f4f1663f2d55_Tuxingsun_steps.jpg" class="custom-image original-size" data-id="d2786d02057c4077b7888f4f1663f2d5" data-width="1478" data-height="942"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/21c4cbc7118945b1919b48da2a28a50f5_marvelous_capture2.jpg" class="custom-image original-size" data-id="21c4cbc7118945b1919b48da2a28a50f" data-width="1920" data-height="960"><img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/fdd29bc8a6c1444983e819de713f3f625_marvelous_capture1.JPG" class="custom-image original-size" data-id="fdd29bc8a6c1444983e819de713f3f62" data-width="1920" data-height="960">Also, when I created the patterns, the cloth was small on Tuxingsun's body. Because of that, I had to "add more fabric" and this broke the hierarchy. So to avoid this, when I started over, I used a high particle distance to get the shapes, then I changed to a lower value and used many pins to simulate it and create the desired folds again.In summary, to maintain the hierarchy, the freeze and unfreeze features, in conjunction with the pins, were my best friends in this project. This was the most time-consuming part of the work.<h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1>The first tip: take your time to find patterns, this will save you a lot of time. Even though it's difficult and frustrating to find patterns on the internet, humans have started to create garments since ancient times; take the time to find them. Second tip: don't forget to use symmetry.<img src="https://storagefiles.clo-set.com/public/community/202412/1f7f0a3eddcf49d0bf364a01d959c66e/images/35f034d2d9f14fbbb097bc6ee02364be6_Tuxingsun%20process_translucent.jpg" class="custom-image original-size" data-id="35f034d2d9f14fbbb097bc6ee02364be" data-width="1920" data-height="960">Third: when you have as many pins as I had, the translucent mode is very useful. In addition, more a feature than a trick, use the soft body simulation, it's an incredible feature that considers the elastic aspect of the skin.<h1>How can you describe your overall experience of the use of the Marvelous Designer?</h1>It's amazing, the software is very intuitive, and the interface is truly user-friendly. Nowadays it is the best software option to create 3D garments in the industry.<h1>by&nbsp;Mendy BM <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/mendybm">Artstation</a></h1>

Tuxingsun - A Fusion of Inspiration and Chinese Lore

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/180950e687e44dcba683f9c7e0a864f9/images/f63625a21a1e4239bcdb56333382e97bSelected%20June%2026%202026%2032.png" class="custom-image hidden-thumbnail" data-id="f63625a21a1e4239bcdb56333382e97b" data-width="2536" data-height="1364">3D motion graphic designer <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/3d_znyng/">Junyoung Park</a> shares his deep passion for fashion, his design philosophy that bridges photorealistic and casual styles, and his creative workflow using Marvelous Designer.</h2><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/1060798876?#t=0" frameborder="0" allowfullscreen="" width="800" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Could you briefly introduce yourself and share what led you to start working in 3D design?</h1>Hello, my name is Junyoung Park, and I work as a 3D motion graphic designer.I studied Visual Design in university, and I actually entered the field of motion graphics and 3D design relatively late compared to others. Around the time I was transitioning from my third to fourth year in college, I saw a 3D graphic project created by a friend I had grown close to while preparing for art school entrance exams. I was so impressed by the work that I felt a strong desire to learn 3D graphics myself. That moment sparked my journey—I immediately began studying through YouTube and online classes, which led me to take my first steps into the world of 3D motion graphics.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/78193e3467794808aff696458fa9868c%E1%84%8C%E1%85%B5%E1%86%AB%E1%84%80%E1%85%A9%E1%86%BC%E1%84%91%E1%85%A9%E1%84%8C%E1%85%A1%E1%86%BC8.png" alt="78193e3467794808aff696458fa9868c" class="custom-image original-size" data-id="78193e3467794808aff696458fa9868c" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/fd83f82906204c2c8e7049d865f5e2a1%E1%84%87%E1%85%A9%E1%84%8C%E1%85%A5%E1%86%BC_4.jpg" alt="fd83f82906204c2c8e7049d865f5e2a1" class="custom-image original-size" data-id="fd83f82906204c2c8e7049d865f5e2a1" data-width="1441" data-height="755">Initially, I was deeply drawn to photorealistic work. I believed that truly impressive 3D projects had to look as real as possible, as if they existed in the physical world. For about one to two years, I worked professionally on product-focused 3D projects with a photorealistic approach. Then, by chance, I joined a company that specialized in interactions for a financial app, and that experience completely changed my perspective on 3D design.At that company, the work leaned more toward a casual mood rather than photorealism. Through those projects, I realized that 3D graphics don’t always need to mimic reality—casual-style designs have their own unique charm and appeal. Since then, I’ve embraced both photorealistic and casual styles, and I currently work as a designer who appreciates and incorporates the strengths of both approaches.<h1>How does your interest in fashion influence your 3D work? If you've ever incorporated your favorite brands or styles into your projects, please share an example.</h1>Fashion is one of the areas I’m most passionate about outside of my design work.To be honest, motion graphics often involve creating videos that are around a minute long, which can be quite exhausting as the project progresses—even if you start with excitement. That’s why, when working on personal projects rather than commercial ones, choosing a theme you genuinely enjoy helps reduce that fatigue and makes the process much more enjoyable. For me, selecting “fashion” as the theme for this project felt like a natural choice.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/1edf42139a7b4a00b7347c03c5e02e7a4_1.png" alt="1edf42139a7b4a00b7347c03c5e02e7a" class="custom-image original-size" data-id="1edf42139a7b4a00b7347c03c5e02e7a" data-width="1920" data-height="1080">When I was creating the promotional video for Musinsa, I went through a lot of trial and error and development in every stage—from planning the storyboard, to styling the looks, to designing the characters. But when it came to choosing the theme of fashion, I didn’t hesitate for a moment. It was the most instinctive and effortless part of the process.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/5e37af9472784d57886d42d9c7ed1372ezgif-62a073fe231aec.gif" alt="5e37af9472784d57886d42d9c7ed1372" class="custom-image original-size" data-id="5e37af9472784d57886d42d9c7ed1372" data-width="960" data-height="540">In fact, I often bring imagined clothing—pieces that don’t exist in real life but live in my mind—into my work, which gives me a strong sense of catharsis. When designing characters, I enjoy experimenting with bold and daring outfits that might be too much for everyday wear, but under the umbrella of “design” and “virtuality,” I feel free to explore and try many things. A good example is my current profile character, which I’ve styled mainly with clothing from one of my favorite brands, Tommy Hilfiger.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/7df00c41283e42919ce9793148c10187%E1%84%8C%E1%85%AE%E1%86%AB%E1%84%8B%E1%85%A7%E1%86%BC_016.png" alt="7df00c41283e42919ce9793148c10187" class="custom-image original-size" data-id="7df00c41283e42919ce9793148c10187" data-width="1920" data-height="1920"><h1>You work across both photorealistic and casual styles. What do you consider most important when balancing these two approaches?</h1>If I were to highlight one key point for each style:For photorealistic work, I believe real-world scale is the most crucial element—and also one of the details that beginners often overlook. Since photorealistic design aims to replicate what we see in the real world, even slight discrepancies in texture tiling, material pattern sizes, or the relative scale between objects can create a strong sense of visual inconsistency.On the other hand, for casual-style work, I think aesthetic appeal is the most important factor. Unlike photorealistic design, casual graphics aren’t based on real-world colors or patterns. Instead, they aim to create visually pleasing and beautiful objects in a more stylized way. If the audience doesn’t immediately perceive aesthetic value when encountering a casual-style piece, they’re unlikely to feel curious or engaged with the work at all.Although photorealistic and casual styles may seem like completely different fields with opposite characteristics, I believe the process of achieving high-quality results in both is fundamentally similar. The most important thing is to begin with thorough reference research and solid planning. Whether you're working in a realistic or casual mood, a well-grounded creative process leads to consistent execution and excellent outcomes.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/d64ddf40ec07408ba0f284dcc5a16a4fezgif-666b32868f9ab0.gif" alt="d64ddf40ec07408ba0f284dcc5a16a4f" class="custom-image original-size" data-id="d64ddf40ec07408ba0f284dcc5a16a4f" data-width="672" data-height="378"><h1>What was the most impressive feature or experience when you first encountered Marvelous Designer?</h1>The most impressive aspect for me was its relatively lightweight simulation capabilities that still produce high-quality, realistic clothing movement. As a 3D designer who works with characters, there are generally two main approaches depending on the mood of the project: creating clothing with mesh modeling, or using Marvelous Designer to achieve more lifelike simulated garment movement.Before I learned how to use Marvelous Designer, I had no choice but to create all clothing through mesh modeling, which limited my workflow and creative options. But once I became proficient with Marvelous Designer, the spectrum of designs I could express expanded significantly. Of course, even now, there are times when I still choose to model clothing with mesh, but I believe there's a clear difference between having no choice and making a deliberate choice between two methods you fully understand.Being able to choose between mesh and simulation-based workflows depending on the project’s needs has fundamentally changed how I approach character design and garment creation.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/9e8f635525114ff2a3f2c91c60886b192025-06-23%2018%2032%2018.png" alt="9e8f635525114ff2a3f2c91c60886b19" class="custom-image original-size" data-id="9e8f635525114ff2a3f2c91c60886b19" data-width="1916" data-height="1035"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/3603906e72ef4261b2e46f01c3b49a242025-06-23%2018%2051%2044.png" alt="3603906e72ef4261b2e46f01c3b49a24" class="custom-image original-size" data-id="3603906e72ef4261b2e46f01c3b49a24" data-width="723" data-height="415"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/94978f78219642a5800f15bf9c2009c7ezgif-6309d236c0de32.gif" alt="94978f78219642a5800f15bf9c2009c7" class="custom-image original-size" data-id="94978f78219642a5800f15bf9c2009c7" data-width="857" data-height="463"><h1>You mentioned that you voluntarily studied tutorials after work. What learning resources or methods were most helpful to you?</h1>I’ve heard that senior designers from earlier generations had a hard time studying due to the scarcity of resources. In contrast, I believe our generation is incredibly fortunate when it comes to learning. There are countless high-quality tutorials available for free on YouTube, and we also have access to paid classes from highly skilled senior designers. On top of that, with the emergence of ChatGPT, even minor errors that used to require extensive searching can now be resolved quickly and easily.For me, the most helpful learning method has been not being afraid to upload my work and receive feedback. I understand that it’s difficult for anyone to completely let go of the fear—“What if someone criticizes my work or leaves a negative comment?” Even as I say this, I still feel that fear myself. But I believe that even the most accomplished creators started out the same way, and there’s no faster or more effective way to improve than by listening to others’ opinions and refining your work accordingly.<h1>What has been the biggest synergy effect you've experienced from working in both motion graphics and 3D design?</h1>Motion graphics include both 2D and 3D elements, but by working alongside 3D graphics, I feel that I’ve significantly expanded my expressive range. While 2D has its own charm and is a wonderful field, I found that 3D allowed me to satisfy my creative cravings in both photorealistic and casual styles.In the beginning, I was fixated on photorealism in 3D work, stubbornly believing that “it only looks cool if it looks real!”—a narrow mindset that I held onto with a sense of pride. However, through various projects and professional experiences, I came to realize that casual moods, 2D work, and all forms of design have their own demand and purpose. I also learned that my perspective isn’t the only correct one.Though I’m still a developing designer with a long way to go, I’ve been fortunate to experience many different areas in my relatively short career. One of those areas was Marvelous Designer, which reignited my passion for 3D graphics by allowing me to integrate my personal interests—like fashion and clothing—into high-quality professional projects.The ability to visualize and create clothing that exists only in my imagination, or to see a 3D character I designed wearing the same clothes I enjoy in real life, brings a kind of emotional impact that deepens my attachment to both 3D graphics and motion graphics. That visual connection between imagination and reality is what continues to inspire me in this field.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/798c6275ffab4a1d9a471d41cffb65349.png" alt="798c6275ffab4a1d9a471d41cffb6534" class="custom-image original-size" data-id="798c6275ffab4a1d9a471d41cffb6534" data-width="1920" data-height="1080"><h1>Lastly, if you're planning a future project that combines fashion and 3D, what kind of theme would you like to explore?</h1>Since I’ve already created a casual, kitschy-style video, I’d love to explore a project that focuses on highly detailed, photorealistic clothing in the future. I’ve always been inspired by senior designers who collaborate with K-pop artists to create CG elements for music videos and teaser content, featuring a wide range of stage outfits. It’s something I’ve long admired from afar, and now I’m determined to work toward that goal by continuing to study and improve my skills in every way I can.<img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/e864efef95a541a3afd9b95032ae1d4eScreenshot%20July%2010%202025%2011%3A11%3A20.png" class="custom-image hidden-thumbnail" data-id="e864efef95a541a3afd9b95032ae1d4e" data-width="910" data-height="915"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/fe8e1e5148c849b2820af364755d5723Screenshot%20July%2010%202025%2011-11-20.jpg" class="custom-image hidden-thumbnail" data-id="fe8e1e5148c849b2820af364755d5723" data-width="910" data-height="915"><img src="https://storagefiles.clo-set.com/public/community/202507/180950e687e44dcba683f9c7e0a864f9/images/cd6fd157b30f42ac97ff504e11c230c5ezgif-5d216c94324f12.gif" alt="cd6fd157b30f42ac97ff504e11c230c5" class="custom-image original-size" data-id="cd6fd157b30f42ac97ff504e11c230c5" data-width="800" data-height="450">

MUSINSA Promotion: Fashion Meets Motion Graphics

This outfit was created by <a href="https://connect.clo-set.com/portfolio/804888/collection/collections" target="_blank">[pouya az]</a> and is compatible with the inZOI Mod. The original work can be found at: <a href="https://connect.clo-set.com/detail/2f6d33b653594a72a07592580d513ef8" target="_blank">[Link]</a> **Limited-Time Offer: This asset is only available during the contest period. [File Contents] Mod Package File [How to use] Download and extract the files. Then, copy the extracted folder to the following directory: Documents\inZOI\Mods For a detailed guide, please refer to the link below. <a href="https://shaded-guilty-011.notion.site/inZOI-User-Guide-for-the-Mods-Package-23e4bf91ad5580ba8778da88ea12a3c1" target="_blank">https:&#x2F;&#x2F;shaded-guilty-011.notion.site&#x2F;inZOI-User-Guide-for-the-Mods-Package-23e4bf91ad5580ba8778da88ea12a3c1</a> --- Use of Gamewear Items is permitted solely for your personal gameplay within inZOI. Any form of distribution or redistribution of Gamewear Items, whether for commercial or non-commercial purposes and whether paid or unpaid, on any platform other than inZOI is strictly prohibited.

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mia.luo9527

celeberty

The Gentleman Fatal

<img src="https://storagefiles.clo-set.com/public/community/202601/3622089d22f94efea4b3e2a3d5199d0c/images/d5371c98e618409688dec36d791c4554Screenshot%202026-01-09%20at%2010.05.45.png" class="custom-image hidden-thumbnail" data-id="d5371c98e618409688dec36d791c4554" data-width="774" data-height="778">Your Mission • Build and grow a team of computational design experts, ensuring close collaboration with designers and cross-functional partners to deliver outstanding work - from early explorations and conceptual design all the way to production-ready 3D datasets. • Be an integral part of the design studio, continuously pushing the visual and technical boundaries of On’s products. • Inspire, coach, and upskill individuals and teams to develop the future-fit design capabilities needed to thrive in an ever-evolving digital landscape. • Use computational design skills to create pioneering product concepts that set new standards for performance and innovation - while pushing the future of digital manufacturing and automation in the industry. • Inspire and embed computational design capabilities across all product functions, driving creativity, efficiency, and innovation. • Stay up to date with the latest advancements in computational design tools and digital fabrication technologies to enhance the footwear design process. • Implement parametric and algorithmic design principles to build adaptable design systems, enabling customizable and easily adjustable solutions. Your Story • 7-10 years of experience in high-level design environments, with a strong portfolio of computational design and performance product solutions. • Proven experience leading teams and large-scale projects in agile environments. • Deep expertise in computational design as well as 2D and 3D tools - from early explorations to production-ready 3D datasets. • Good understanding of traditional manufacturing processes in high-performance footwear (a plus). • An innovative mindset with a strong drive to push the boundaries of footwear design. • Ability to work independently under deadlines on multiple projects simultaneously, combining creative thinking with engineering problem-solving skills. • Must be able to thrive in a fast-paced environment.<a target="_blank" rel="noopener noreferrer nofollow" href="https://culture.on.com/jobs/7120658/">https://culture.on.com/jobs/7120658/</a>

[Job] On - Senior Lead: Computational Designer(Zurich, Switzerland)

Tuxingsun - A Fusion of Inspiration and Chinese Lore

Marvelous Designer Official

Marvelous Designer Official