<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/bad56517d19047e491facd34407b5cd0Eduardo_square.png" class="custom-image hidden-thumbnail" data-id="bad56517d19047e491facd34407b5cd0" data-width="1654" data-height="1654"><span style="font-family: &quot;Times new roman&quot;"><em>For Eduardo, fabric is never just fabric; it is the living protagonist of his art. This 3D artist skillfully employs Marvelous Designer to bridge digital textiles with his powerful 2D illustrations. Delve into "Death is a Beginning"—his striking reinterpretation of La Lotería's iconic card La Muerte (‘Death’), where the ethereal drape is precisely crafted to guide the viewer's eye through a profound narrative of rebirth.</em></span></h2><hr><h1 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/7adf6a1674204bcf96463df9d583cccdeduardo-gala-artstation-01.jpg" alt="7adf6a1674204bcf96463df9d583cccd" class="custom-image original-size" data-id="7adf6a1674204bcf96463df9d583cccd" data-width="651" data-height="1000"><strong>Interview with </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/eddgala"><strong>Eduardo Gala </strong></a><strong>| </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/NqVNBJ"><strong>Death is a Beginning</strong></a><strong> | 3D Artist &amp; Illustrator</strong></h1><hr><h1><strong>Could you start by introducing yourself and the core idea behind this artwork?</strong></h1><p>I am a 3D artist and illustrator, and I truly enjoy using Marvelous Designer to achieve more refined and realistic fabric details in my illustrations. The software allows me to simulate natural elements such as wind, which brings greater credibility and dynamism to my characters.&nbsp;<br>I am currently working on a series of illustrations inspired by a traditional Mexican game called<strong> <em>La Lotería</em></strong>. One of its iconic cards is <strong><em>La Muerte</em> (‘Death’).</strong></p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/61b733552d8c4d44b46a05bc75bdb85cimage.png" alt="61b733552d8c4d44b46a05bc75bdb85c" class="custom-image original-size" data-id="61b733552d8c4d44b46a05bc75bdb85c" data-width="460" data-height="689"></p><p>If you look at the original card, it depicts a simple skeleton holding a scythe. For my reinterpretation, I wanted to give it a deeper meaning.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/795f86748bea48fab50291d23294ab78image.png" alt="795f86748bea48fab50291d23294ab78" class="custom-image original-size" data-id="795f86748bea48fab50291d23294ab78" data-width="403" data-height="566"></p><p>To me, death does not represent the end of a story, but rather the beginning of something new. I believe in the idea of reincarnation, and that life is made of experiences we are meant to live and learn from. My illustration reflects that belief: it portrays a character who is about to reincarnate into a new version of themselves.</p><h1><strong>The composition is very powerful. Could you walk us through your thought process for creating this specific scene?</strong></h1><p>For this piece, I used a centered composition surrounded by arches of <em>cempasúchil</em> flowers. In Mexico, we celebrate the Day of the Dead on November 2nd, and we decorate the graves of our loved ones with altars made of <em>cempasúchil</em>, similar to what many people saw in the film <em>Coco</em>.</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/99da41eba3a44e09a9574e5a3c0b7ad1image.png" alt="99da41eba3a44e09a9574e5a3c0b7ad1" class="custom-image original-size" data-id="99da41eba3a44e09a9574e5a3c0b7ad1" data-width="546" data-height="775"></p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/9eba50f0c0a84a1fb0117f2a9f12bc1byellow-flower-with-background-yellow-flowers-out-focus.jpg" alt="9eba50f0c0a84a1fb0117f2a9f12bc1b" class="custom-image original-size" data-id="9eba50f0c0a84a1fb0117f2a9f12bc1b" data-width="5472" data-height="3648"></p><p>For the character of Death, I dressed her in black to symbolize mourning, while the new soul is dressed in white to represent a beginning. The dress of Death dissolves into butterflies, which then start to form the body of the new soul.</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/f73b72ccda214313b7767eb9d690937beduardo-gala-artstation-02.jpg" alt="f73b72ccda214313b7767eb9d690937b" class="custom-image original-size" data-id="f73b72ccda214313b7767eb9d690937b" data-width="744" data-height="1000"></p><h1><strong>What role did Marvelous Designer play in the creation of this artwork? Which elements were designed using Marvelous Designer?</strong></h1><p>I always plan my compositions in Unreal Engine, which requires a 3D mesh that I can integrate into the software. Marvelous Designer allows me to arrange the fabrics, experiment with<strong> wind simulations</strong>, and even adjust the type of material, giving me more creative control.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/9e1f4a97e01e47869e219b3189cb2bc9Eduardo%20Recording_MD1.gif" alt="9e1f4a97e01e47869e219b3189cb2bc9" class="custom-image original-size" data-id="9e1f4a97e01e47869e219b3189cb2bc9" data-width="1138" data-height="640"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/16c2c53ba7de4c8097dd30e6870532ffEduardo_wind2.gif" alt="16c2c53ba7de4c8097dd30e6870532ff" class="custom-image original-size" data-id="16c2c53ba7de4c8097dd30e6870532ff" data-width="1138" data-height="640"></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/KYoRar_zIwQ?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><p>In this particular piece, I wanted the dress to appear as if it were dissolving, so I used wind simulation in Marvelous to achieve the initial effect. Later, when I moved the work into Photoshop, I refined the illustration by gradually disintegrating the dress using masks.&nbsp;</p><h1><strong>Could you describe your process for creating this element inside Marvelous Designer?</strong></h1><p>Previously, I worked as a character artist, and as many know, in that field fabrics needed to be perfectly clean and functional so that the character could later be textured and prepared for production.</p><p>Now that I focus on illustration, I feel I have much more creative freedom. I can place and pose the fabrics, add objects so they adapt to very specific positions, and really experiment.</p><p>That’s exactly what I did for this piece: I used wind simulation and manually adjusted the fabric until the folds appeared exactly where I wanted them to enhance the composition.</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/2aeb2bc7baa048d9978bc588532b668eeduardo-gala-muerte-sketch-02.jpg" alt="2aeb2bc7baa048d9978bc588532b668e" class="custom-image original-size" data-id="2aeb2bc7baa048d9978bc588532b668e" data-width="1920" data-height="2560"></p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/5c252f5868cc4904a6db50cf2240b29aeduardo-gala-muerte-sketch-01.jpg" alt="5c252f5868cc4904a6db50cf2240b29a" class="custom-image original-size" data-id="5c252f5868cc4904a6db50cf2240b29a" data-width="1920" data-height="2560"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/b2736b32351f4776ab2ad22413704f42eduardo-gala-muerte-sketch-08.jpg" alt="b2736b32351f4776ab2ad22413704f42" class="custom-image original-size" data-id="b2736b32351f4776ab2ad22413704f42" data-width="1920" data-height="1920"></p><h1><strong>What were the biggest challenges you faced, and how did you overcome them?</strong></h1><p>The most challenging part was controlling the level of detail in order to guide the viewer’s eye. I carefully arranged the fabric folds so they would work as visual guides leading toward the baby.</p><p>Another challenge was figuring out how the dress would dissolve, but I ultimately resolved that within the final composition.</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/a06edf0697184326ba4621aa416f243bEduardo_transparent%20.png" alt="a06edf0697184326ba4621aa416f243b" class="custom-image original-size" data-id="a06edf0697184326ba4621aa416f243b" data-width="1164" data-height="614"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/773006817c304944aeec64b4e663f4ceEduardo_transparent2.png" alt="773006817c304944aeec64b4e663f4ce" class="custom-image original-size" data-id="773006817c304944aeec64b4e663f4ce" data-width="1160" data-height="642"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/66e0e92abb8b4b3da9399f8334233375eduardo_transparent3.png" alt="66e0e92abb8b4b3da9399f8334233375" class="custom-image original-size" data-id="66e0e92abb8b4b3da9399f8334233375" data-width="1162" data-height="592"><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/010b7829eb844ff69ebd46608a6ce9b5eduardo_transparent%205.png" alt="010b7829eb844ff69ebd46608a6ce9b5" class="custom-image original-size" data-id="010b7829eb844ff69ebd46608a6ce9b5" data-width="1158" data-height="610"></p><h1><strong>Are there any particular features in Marvelous Designer that you find indispensable for bringing your surreal and highly detailed character concepts to life?</strong></h1><p>The wind, being able to pose the fabric in real time, and pins are my best friends in this process.</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/86718d4eeff54ed5808d14a450d296cdEduardo_Wind.gif" alt="86718d4eeff54ed5808d14a450d296cd" class="custom-image original-size" data-id="86718d4eeff54ed5808d14a450d296cd" data-width="1138" data-height="640"></p><h1><strong>Could you give us an overview of your entire workflow for this piece?</strong></h1><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/SyI4hIhyu0s?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><h1><strong>How does your work in Marvelous Designer integrate with the rest of your 3D/2D pipeline?&nbsp;</strong></h1><p>My characters usually require a large amount of fabric, and over time <strong>fabric has become the true protagonist of my work</strong>. I often design them with heavy robes that cover their bodies, and having precise control over how the garments are posed is essential for me.&nbsp;</p><p><strong>In my process, fabric plays a key role in guiding the viewer’s eye, so I need to direct it exactly where I want the audience to focus.&nbsp;</strong></p><p>This is why Marvelous Designer is more useful for me than other software, such as ZBrush, where I cannot preview results as quickly or make detailed adjustments to folds and wrinkles with the same efficiency.</p><p><img src="https://storagefiles.clo-set.com/public/community/202510/4ec67a57e8124fb8be51de9abec64a7f/images/89c75f10b80948f29be1f50e28802e7ceduardo-gala-muerte-sketch-04.jpg" alt="89c75f10b80948f29be1f50e28802e7c" class="custom-image original-size" data-id="89c75f10b80948f29be1f50e28802e7c" data-width="1920" data-height="2560"></p><h1><strong>What advice would you give to other artists who want to use Marvelous Designer not just for realistic clothing, but for creating fantastical and symbolic garments like the one in your piece?</strong></h1><p>When illustrating, it’s crucial to have a clear vision of what you want to communicate with every element in the scene.</p><p><strong>If you are using Marvelous Designer to pose clothing, don’t think of the garments as just clothing, they can also guide the viewer’s eye and help describe your characters.</strong></p><p>That’s why it’s important to start with a sketch, marking the points where you want to direct attention, and then design the clothing based on that sketch.&nbsp;</p><h1><strong>How would you describe your overall experience using Marvelous Designer?</strong></h1><p>The software is very nice and intuitive; it's my favorite part of pre-production composition.</p><p></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/eddgala"><strong><em>Artstation</em></strong></a></p><p></p><p></p>

Death is a Beginning: Weaving the Ethereal Fabric of Rebirth with Marvelous Designer

Championship Thread

<p>Needs improvment, in order of priority.</p><ol><li><p>Snapshot export to PDF/DXF, in <strong>true vector reduced file format</strong>.</p></li><li><p>Better pattern name and size auto positioning, or editable.</p></li><li><p>Header information does not appear during export, even when selected.</p></li></ol>

Print Layout

<h2 style="text-align: center"><span style="font-family: Times new roman"><em>Eugene shares the behind-the-scenes story of Marvelous Designer's involvement in her short animation, "The Antique"</em></span></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/950ac101ff9c40a9a235593b0103b866/images/2ee5f69a338c4c14ad4a991e587fc203%ED%99%94%EB%A9%B4%20%EC%BA%A1%EC%B2%98%202024-12-10%20180831.png" class="custom-image original-size" data-id="2ee5f69a338c4c14ad4a991e587fc203" data-width="1496" data-height="657"><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://vimeo.com/823293011">https://vimeo.com/823293011</a></p><p></p><h1><strong>Artist Introduction</strong></h1><p>Hi, my name is Eugene Jung - working as a 3D motion graphics designer. I have a desire to create character animations myself, so I'm consistently studying and working on character-related projects personally.</p><p></p><h1><strong>Tell us about the animation project: The Antique.</strong></h1><p>"The Antique" is a short animation depicting 'Yeon,' who operates a vintage goods store, preparing for the store's opening. I started the production with the idea of creating a video filled with things I like. The work aims to portray vintage items, a warm sunny atmosphere, and relaxing morning hours.</p><p></p><h1><strong>We'd like to hear more about the art direction in the costume of Yeon. What was the visual style you were aiming for?</strong></h1><p>I envisioned the season within "The Antique" transitioning from winter to spring. Throughout the video, I aimed for a casual yet warm feeling in the chosen clothing that complements the sunlight coming through the windows. I wanted the attire to be comfortable yet convey a sense of intimacy. Therefore, I ultimately opted for a cardigan and jeans in the video, incorporating bright spring colors to create a fresh and lively atmosphere.</p><p></p><h1><strong>Why did you decide to use Marvelous Designer? How did it help you serve in your animation project?</strong></h1><p>I believe that expressing the natural movement of hair and clothing plays a key in conveying the vitality of a character, so I pay close attention to this aspect when working. In the case of "The Antique," where the character takes center stage, achieving a natural flow in the clothing movement was important. Utilizing Marvelous Designer allowed me to depict the natural movement of the clothing, enabling me to effectively capture the vitality of the character as I envisioned throughout the entire video.</p><p></p><h1><strong>Can you give us a quick overview of the different tools used in your pipeline including Marvelous Designer?</strong></h1><h1>[Planning]</h1><p>I collect references for tone, mood, the protagonist's appearance, and clothing. I then organize the storyline in written form. Based on the script, I create storyboards and produce style frames for essential scenes in the video. During this process, I use Marvelous Designer to test the feel of the clothing.</p><h1>[Video Editing]</h1><p>After roughing out the major movements of the camera and characters in 3D, I proceed to overall video editing. Once I confirm that the video length and composition are seamless, I delve into detailed animation.</p><h1>[Cloth Simulation]</h1><p>Upon completion of the animation, I import the character into Marvelous Designer to simulate the clothing. The costumes created in Marvelous Designer are further refined in Substance Painter to craft intricate clothing textures.</p><h1>[Finalizing]</h1><p>After final adjustments to the look, I proceed to render, composite, and edit the background music, concluding the video production process.</p><p></p><h1><strong>Could you give examples of some of the iconic scenes and characters Marvelous Designer has been used for in “The Antique”?</strong></h1><img src="https://storagefiles.clo-set.com/public/community/202412/950ac101ff9c40a9a235593b0103b866/images/04c97dee5ad04aaa9cce20c436a6c616a005090f2f31422fa2fbf5ede4e1fd0b%20%281%29.png" class="custom-image original-size" data-id="04c97dee5ad04aaa9cce20c436a6c616" data-width="2600" data-height="1300"><p>Here are the initial scenes featuring Yeon, the first being the panoramic shot and the subsequent mirror scene. The panoramic scene reveals Yeon's full body, and it was crucial to simulate the clothing's natural movement as she walks. In the mirror scene, Marvelous Designer was used for the floral-patterned curtains, lace on the shelf, and the moving curtains reflected in the mirror, as well as the tablecloth.</p><p>With Marvelous Designer, I could achieve a natural movement for the curtains swaying in the wind and the tablecloth, enhancing the overall realism of these scenes.</p><p></p><h1><strong>Are there any tips and tricks with Marvelous Designer that you can share with the community?</strong></h1><p>I tend to purchase project files from the Marvelous Designer Asset Store (CONNECT) and external markets (such as ArtStation) when needed, and I use them after making adjustments to fit the characters.</p><p>In this project as well, I bought a project file, modified it to suit the character, and incorporated it into the workflow.</p><p>By taking a reference to how other designers create patterns and sew using Marvelous Designer, I've been able to enhance my understanding of the software. It provides valuable insights into different approaches and techniques employed by fellow designers, contributing to an overall improvement in my proficiency with Marvelous Designer.</p><p></p><h1><strong>How can you describe your overall experience of the use of the Marvelous Designer?</strong></h1><p>Marvelous Designer allows for the quick production of high-quality garments within a short period. Not only that, but it also makes it very easy to achieve a realistic feel of fabric. Additionally, there is a wealth of tutorials and both free and paid items available for users, making it quite accessible even for those unfamiliar with Marvelous Designer. This enables users to easily utilize only the necessary features, even without extensive knowledge of the software.</p><p></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/withorwithout">Link to Behance</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/withorwithoutx/">Link to Instagram</a></p>

Death is a Beginning: Weaving the Ethereal Fabric of Rebirth with Marvelous Designer

Marvelous Designer Official

Marvelous Designer Official