<h2 style="text-align: center">From Pixels to Polygons – Explore the journey of a graphic designer who transitioned to 3D design, achieving remarkable results with her first project using Marvelous Designer.</h2><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/1028073137?#t=0" frameborder="0" allowfullscreen="" width="640" height="480" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><hr><h1 style="text-align: center">Interview with Yuri Choi | Copic Brand Promotion | 3D Artist</h1><h1> We would like to know about you, Yuri. Could you please give a brief introduction and explain how you started working in 3D?</h1>Hello, I am Yuri Choi, working in 3D in South Korea. Since childhood, I have enjoyed looking at illustrations and drawing, which naturally led me to major in design. After graduation, I got a job at a 3D media art exhibition company as a graphic designer, where I was offered the opportunity to try 3D work as well. This prompted me to start studying 3D in earnest and challenge myself in a new field.<h1>Could you please explain in detail about your recent project, "Copic Brand Promotion"?</h1>The "Copic Brand Promotion" is the first portfolio video I created at the academy where I studied 3D. The theme of this video is "A Parade of Vibrant Colors by Copic Markers that Brighten Up the City." It emphasizes the ease and speed of coloring with Copic markers, depicting shapes representing various marker tips starting from a small space and joyfully spreading color throughout the city. To highlight the advantage of quick coloring, I focused on dynamic and fast-paced scenes. Additionally, I aimed to make the scenes more exciting and lively by synchronizing them with the rhythm of the music.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/c5a16e3a1d0e43d68b783b41d5ec4dd9Marker_Detail_04.png" class="custom-image original-size" data-id="c5a16e3a1d0e43d68b783b41d5ec4dd9" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/a3e2f9bce4c244ee9f98728dfac8dc5aMarker_Detail_02.png" class="custom-image original-size" data-id="a3e2f9bce4c244ee9f98728dfac8dc5a" data-width="1080" data-height="1080"><h1>Your work using Marvelous Designer is impressive. Do you have any advice or tips for Marvelous Designer users based on your recent project?</h1>I used Marvelous Designer to express vibrant colored clothes. First, I modeled a mannequin in C4D to dress it, set the desired rotation speed and direction, and then imported it into Marvelous Designer. Since the design of the clothes I envisioned was relatively simple, I could create it quickly. Through animation, I adjusted the fabric's stretch, weight, and movement during rotation to achieve the desired texture. Once I was satisfied with the clothing motion, I transferred it back to C4D to complete the texturing work.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/eaf49f3d4d4745349f5ec09f2a2a83f9Dress%20%282%29.gif" class="custom-image original-size" data-id="eaf49f3d4d4745349f5ec09f2a2a83f9" data-width="742" data-height="417">The biggest issue during this process was the structure of the clothing pattern. The fabric around the waist and neck was supposed to hold the top in place, but the pulling forces caused the clothes to keep slipping off the mannequin's neck. To solve this, I first elongated the mannequin's neck and created a band to secure the shape. I figured that lengthening the neck would reduce the chance of the clothes slipping off. Then, I added a band around the waist to secure it similarly and connected the top to the waist and neck bands.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/a0f531e4673e4d339b6c08bfa3805f08Marvelous_02.png" class="custom-image original-size" data-id="a0f531e4673e4d339b6c08bfa3805f08" data-width="1231" data-height="1849"><img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/7f07163b7d654af3b9295165b62ce9baMarvelous_01.png" class="custom-image original-size" data-id="7f07163b7d654af3b9295165b62ce9ba" data-width="3652" data-height="1910">Instead of trying various attempts on the existing mannequin, I quickly modified the modeling to address the root cause of the problem. By applying the results from the modified mannequin to the existing work, I could solve the issue simply and efficiently. Would this method be considered a tip?😊<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/afe22d71d915453aae4c54b072605fd1ezgif-2ce3a67752f3a.gif" class="custom-image original-size" data-id="afe22d71d915453aae4c54b072605fd1" data-width="800" data-height="450"><h1>Could you provide a brief overview of the various tools used in your pipeline?</h1>In addition to Marvelous Designer, I mainly used Cinema4D, Octane Render, After Effects, Photoshop, and Illustrator. Photoshop and Illustrator were used to create the necessary source images. The overall layout composition and rendering work were done in Cinema4D and Octane. The rendered images were then brought into After Effects for final post-processing to complete the final video.<h1>When working on a project, there must be parts you enjoy the most and parts that are challenging. What was the most enjoyable part of the process for you?</h1>I found the most enjoyment in the process of setting up style frames for each scene. Moving from the storyboard stage to actually setting up the lighting and post-processing to beautifully complete the scenes felt like a special experience of bringing imagination to reality.I particularly remember the initial concept for the scene featuring a vibrant-colored dress. I was unsure about what kind of dress to create and which colors to choose, but then I had the idea to use AI. I first created a simple reference image and then used AI to add details and refine the image. After that, I found a similar clothing pattern and created the dress in Marvelous Designer.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/0b9a80dccb274b57b778a0172e7d9d6dDress_ref.png" class="custom-image original-size" data-id="0b9a80dccb274b57b778a0172e7d9d6d" data-width="2611" data-height="1322"><img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/eb3379ba3e9246f986c3279fb73b185aAI_01.png" class="custom-image original-size" data-id="eb3379ba3e9246f986c3279fb73b185a" data-width="2912" data-height="1632"> This was my first time using Marvelous Designer, and I remember trying various things and going through trial and error without watching any guide tutorials. Looking back, I wonder why I didn't look up resources from the start, but I clearly remember how much fun I had and how focused I was on the work. The process of using AI to refine my ideas and boldly trying out Marvelous Designer was the most interesting and enjoyable part of the project.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/bc7f165a2f7e4c7cbb14336327338ac8Dress_Before.png" class="custom-image original-size" data-id="bc7f165a2f7e4c7cbb14336327338ac8" data-width="1920" data-height="1080"><h1>What was the biggest challenge you faced while working on the project?</h1>The biggest challenge was having to control all aspects of the work by myself. As a beginner, handling everything from modeling, lighting, sound editing, sound effects, and post-processing alone was very complex and overwhelming.Another major difficulty was figuring out effective ways to express my ideas. For example, when creating the scene where a blue store appears after the marker shape passes through an alley, I spent a long time staring at the monitor, unsure of how to make it look natural. Initially, I tried to show ink droplets seeping into the wall to create the store, but the result didn't feel right, so I changed direction. I then came up with the idea to layer colors gradually, similar to how markers are used, to reveal the store's vibrant texture. Ultimately, I created a scene where 2-3 layers with the marker's transparent and vivid texture overlapped to form the store, which received positive feedback for being impressive.The process of figuring out how to effectively portray the desired look was always challenging but also very rewarding.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/40e4b2ce826245aeb636b282922d6478Store.gif" class="custom-image original-size" data-id="40e4b2ce826245aeb636b282922d6478" data-width="737" data-height="415"><img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/2de31df6657f4cee9c3ad3b48b0105faStreet.gif" class="custom-image original-size" data-id="2de31df6657f4cee9c3ad3b48b0105fa" data-width="916" data-height="515"><h1>Lastly, do you have any advice for those starting out in 3D art? It could be career advice or mindset tips for creating artwork.</h1>Don't doubt yourself, and if you do, shake it off quickly!I often doubted myself or questioned my talent. But recently, I recalled my early days in 3D. I remembered the excitement of holding the mouse and working enthusiastically on a simple model with a basic texture. I have grown a lot since then, and I continued working with the belief that I could improve even more.There are times when I get stuck or struggle to come up with ideas, but the sense of accomplishment and rapid progress when the results turn out better than expected are truly precious. If you can recall these positive experiences more vividly and for longer than any negative thoughts about yourself, I believe you can work much more healthily.Of course, it's important to identify and address your shortcomings, but sometimes taking the time to reflect on your strengths and progress so far can give you the motivation to create even more beautiful artwork.<img src="https://storagefiles.clo-set.com/public/community/202502/392cd325444e4a6cbef2ebc6f2e50c53/images/8a05b56b388a4159b9ee7eb9544398cdDress_Final.png" class="custom-image hidden-thumbnail" data-id="8a05b56b388a4159b9ee7eb9544398cd" data-width="1920" data-height="1080">

Copic Brand Promotion

粗さマップの強度についてroughness　mapを適用させたいですが、強度は100の方が正しいのが、それどもデフォルト設定の50の方が正しいのが、どちらのでしょうか？

粗さマップの強度について

Freelancer

Designer

Asymmetric ensemble that reimagines denim and plaid through the lens of deconstructive fashion. The fitted corset, structured with dark blue panels and plaid accents, contrasts with a fragmented skirt composed of tartan and solid textures. This look celebrates raw edges, unexpected pairings, and the beauty of reconstructed form.

Patched Denim Ensemble

Garment

Gender & Age

Women

Style

Outfits

Dress / Jumpsuit

Skirt

Shirt / Blouse

Genre & Mood

Daily Casual

Streetwear

M Warrior Armor Costume

F Red One-Shoulder Swimsuit

M Leather Vest Jeans Set

Gingham Bikni Set

F Ribbon Cami Jeans Set

Tie-dye Bikini Set

F Red Ruffle Dress

F Futuristic Sci-Fi Dress

M Workwear Casual Outfit

F Pink Dress

M Sleeveless Baggy Jeans Set

M Bomber Denim Set

<a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/a4b67c631741448db242c7df7a1ba4c7">https://connect.clo-set.com/detail/a4b67c631741448db242c7df7a1ba4c7</a><img src="https://storagefiles.clo-set.com/public/community/202512/749b40b9bd48464f94947a060a571bfd/images/c177e9dbf0a54bed91084085b06343aa55554.png" alt="c177e9dbf0a54bed91084085b06343aa" class="custom-image original-size" data-id="c177e9dbf0a54bed91084085b06343aa" data-width="1080" data-height="1350">

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How to find mouse settings on new version. I has differents toolbars, no even help toolbar

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The Handbag Edit

关于用户自定义中心的字体大小设置失效的问题又来依旧。 去年我已经针对此问题反应到CLO，但是不了了之。以前的有关问题是把用户定义界面的字体大小设置项直接取消了。这可是丢失看基本的商业信誉的做法。因为我是一个付费5年的用户，是花钱买服务，你随意裁撤我买到的服务，是很失商业信誉的行为。 如今补充了这个字体大小设置功能，但是这个功能是无效的，也是一个摆设。请拿出你们的诚意做好这个基本的功能<img src="https://storagefiles.clo-set.com/public/community/202501/71bd487e2aeb4ac894751b7073dce29e/images/9302742a74b548f48e93da9ad0b1d7a3%E5%BE%AE%E4%BF%A1%E5%9B%BE%E7%89%87_20250121172608.png" class="custom-image original-size" data-id="9302742a74b548f48e93da9ad0b1d7a3" data-width="900" data-height="750">

用户自定义中心的字体大小设置失效

<h2 style="text-align: center">Lightfarm, a multi-award-winning visual arts production house used Marvelous Designer to make ultra-realistic CGI videos. Watch the interesting "Snooze" Project.</h2><hr><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/363927210" frameborder="0" width="800" height="480" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1 style="text-align: center">Interview with Lightfarm Studios</h1><hr><h1>1. Could you briefly introduce your team?</h1>In 2010, Lightfarm was opened in Auckland, New Zealand. In a short time, the studio gained worldwide notoriety and opened branches in Australia, Singapore, and Brazil, where our largest studio is now located, in Rio de Janeiro. In 2020, Lightfarm opened another new studio in São Paulo, focused mainly on new technologies, specializing in XR (AR and VR). Lightfarm is a multi-award-winning visual arts production house recognized by Cannes and winner of the LIA Grand Prix. Delivering stress-free creative solutions on time and on budget, we build and produce everything, from ultra-realistic CGI images and videos to AR filters and VR applications. Our core values are good service, efficiency, and artistic quality.<h1>2.&nbsp;&nbsp;Introduction of "Snooze" Project</h1>"Snooze" is the most ambitious project to date for the Lightfarm teams. To create this 4-minute short film, it was necessary to capture more than 50 scenes in 10 different places over five months of production. To get to the final result, the capture needed to be on triple levels. First, we filmed the dancer in the actual locations, then we filmed the same choreographed take without the dancer, and finally, we re-recorded the choreography of all the scenes to capture movements in our studio.&nbsp;With motion capture, our animators were able to bring the virtual character to life. We physically simulated the clothes on an invisible 3D model - a crucial step brilliantly directed by Rafael Coppola using Marvelous Designer.&nbsp;[Marvelous Designer] Pattern making #1<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/1d2cae0b1ac942c586992f2306cf0c5f1.png" class="custom-image original-size" data-id="1d2cae0b1ac942c586992f2306cf0c5f" data-width="681" data-height="390">[Marvelous Designer] Pattern making #2<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/6c054ea8f79e4731975514ab73e4549a2.png" class="custom-image original-size" data-id="6c054ea8f79e4731975514ab73e4549a" data-width="694" data-height="389">[Marvelous Designer] Pattern making #3<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/f0f07ebb612b4da0ac0d36d0b63df8083.png" class="custom-image original-size" data-id="f0f07ebb612b4da0ac0d36d0b63df808" data-width="696" data-height="391">Final Outfits<img src="https://storagefiles.clo-set.com/public/community/202501/c48f15b7fa794c85ad72f05ae43e7c24/images/3f046f51abe5463cbc58e7e3112d9d97%EB%8B%A4%EC%9A%B4%EB%A1%9C%EB%93%9C.png" class="custom-image original-size" data-id="3f046f51abe5463cbc58e7e3112d9d97" data-width="1400" data-height="788">To light up the scenes, we capture HDRs from the actual locations and use these HDRs to illuminate the virtual character, thus creating a sense of visual realism. Finally, the post-production, led by Thiago Paladino, composed these different pieces of the puzzle, creating a playful yet realistic composition.&nbsp;"Snooze" was a film where we managed to mix all the digital art disciplines in one project for the first time. All of this was possible thanks to high-end software and features, plus an outstanding team of professionals.Video#2 Making Film<div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/363931322" frameborder="0" width="800" height="480" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>3. A Brief Workflow in Animation for Snooze Project</h1>To animate it, Rafael Coppola used an animated model that was the basis of the girl dancing. To try to make the simulation smoother, he simulated with a time step of 60 fps, even though the animation had 30 fps - this means that he simulated the animation with a higher time step than the real animation. He also used a time step of 0.016666666666, and 7 in number of simulation, and also increased gravity a little. The export was all in Alembic with 30 fps, and the thickness was made using C4D. In addition to these softwares, we also used Maya, Houdini, Redshift, Rokoko, Adobe Photoshop, Animate CC, After Effects, Nuke and DaVinci Resolve throughout the project.<h1>4. Would you like to recommend Marvelous Designer to other 3D artists and why?</h1>"Marvelous Designer is incredible because it offers great editing and creating power of pieces of all levels of complexity. It's fundamental to all my cloth projects", says Coppola."Although Marvelous Designer is not made for video, we managed to extract the best from the tool so that it worked beautifully in the film "Snooze", just as we saw in titles like "Love Death and Robots" and "Spiderverse". The clothes simulation and its animation were complex but crucial stages in which Marvelous served us very well to make the main character even more striking!", says Milton Menezes, Director of Snooze.by Lightfarm StudiosLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lightfarm.com/home">Lightfarm Studios official website</a>

Snooze Project

I've watched several YouTube videos, including CLO official ones, and I am still missing some key insight into how to use the Pleat Sewing tool.The Pleats tool does work - if I first do Free Sewing or Segment Sewing, and then use the Pleats tool, that goes fine:<img src="https://storagefiles.clo-set.com/public/community/202509/18aa59af53e84b3bb364b5e5f57627b2/images/f8777521af1e4d28bc2a0dc600dd7983Screenshot%202025-09-18%20at%202.11.05%E2%80%AFpm.png" alt="f8777521af1e4d28bc2a0dc600dd7983" class="custom-image original-size" data-id="f8777521af1e4d28bc2a0dc600dd7983" data-width="1840" data-height="648">However, if I do not do Free Sewing or Segment Sewing first, and try to do Free Sewing after using Pleats tool:<img src="https://storagefiles.clo-set.com/public/community/202509/18aa59af53e84b3bb364b5e5f57627b2/images/df02fbb4e1a84355b620ea787b91fc94Screenshot%202025-09-18%20at%202.12.19%E2%80%AFpm.png" alt="df02fbb4e1a84355b620ea787b91fc94" class="custom-image original-size" data-id="df02fbb4e1a84355b620ea787b91fc94" data-width="1840" data-height="648">I have also tried many times to use Internal lines (extended and added points) and then Pleats Fold, and then Pleats Sewing, but there I also do not understand how to use Pleats Sewing correctly. I've tried making Internal lines and points on the 'non pleated' pattern piece too, without success for Pleats Sewing.My question is:<ul><li>How to use Pleats Sewing?<ul><li>After using Pleats, if I had to remove the sewing and want to redo it; or</li><li>After making Internal lines and Pleat Folds</li></ul></li></ul>

How to use Pleat Sewing tool?

Copic Brand Promotion

Marvelous Designer Official

Marvelous Designer Official