<h2 style="text-align: center">FAITH &amp; HONOUR: BARBAROSSA, a historically authentic Adventure RPG set, complete characters' outfits with Marvelous Designer. Check out the whole pipeline they adopted.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/4b6d48779de34e47890dabb93a928397%EC%8A%A4%ED%81%AC%EB%A6%B0%EC%83%B7%202025-01-14%20113851.png" class="custom-image original-size" data-id="4b6d48779de34e47890dabb93a928397" data-width="2374" data-height="1332"><h1 style="text-align: center">Interview with Encurio GmbH</h1><hr><h1>1. Could you introduce your team and recent project -&nbsp;FAITH &amp; HONOUR:&nbsp;BARBAROSSA?</h1>Encurio GmbH was founded in 1995 as a marketing company and begun developing video games in 2013. Our studio is located in Cologne, Germany. Our first game, Valnir Rok, was released in 2017.Currently we are working on our new Game called&nbsp;FAITH &amp; HONOUR:&nbsp;BARBAROSSA. It's a historically authentic Adventure RPG set in the 12th century, during the crusade of Frederick I. Barbarossa.You play as Ulrich, the son of Mathis Reinhardt who was one of Barbarossa’s closest friends until he fell from grace after betraying the emperor. But you know that your father wasn’t a traitor to the Holy Roman Empire and through joining Barbarossa’s crusade you try to find out what really happened while your father was in the emperor’s service.<h1>2. How is Marvelous Designer integrated into your pipeline?</h1>Since our current project is very ambitious, and we need to make many historically authentic garments, Marvelous Designer has been and is essential to our character art pipeline.I got an internship as a character artist at Encurio in 2018. Since then, I have been struggling with the internal work pipeline. I took CGMA's "Cloth Simulation for Games" course with Laura Gallagher in mid 2020 to have a decent foundation with Marvelous Designer and also a better understanding of my craft.&nbsp;Laura has now built her own learning platform to teach Character Artists the necessary knowledge. For anyone who wants to learn Marvelous Designer for working in the game industry, I can only recommend <a target="_blank" rel="noopener noreferrer nofollow" href="https://outgang.studio">https://outgang.studio</a>. Our Character Pipeline is very similar to Laura's recommended CharacterArt Pipeline. The idea behind Laura Gallaghers workflow is to use a virtual reconstruction technique, that is used in the real life fashion industry.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/d1453d683b70443ba2a5529b691617af4d57acc1075a445b8b662c2b9c3bbd65.png" class="custom-image original-size" data-id="d1453d683b70443ba2a5529b691617af" data-width="1956" data-height="1232">You start in ZBrush and sketch the garment with Dynamesh, so it perfectly fits the body like in your references. Afterwards, you split the garment in multiple polygroups, where you would have seams. Then you ZRemesh the garment and can export the mesh for the next step.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/f844b9afcaea487e8e9f37eee1737d73f9c66f8cd2234a4eaca9e62dd4958e0c.png" class="custom-image original-size" data-id="f844b9afcaea487e8e9f37eee1737d73" data-width="1962" data-height="882">After import, you just UV the mesh inside maya to get a 2D layout, which will later be our pattern. This mesh can now be exported once again and is ready to be imported into marvelous as our new garment.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/72df437d38bb47798fba1e502308776f96fb0b745cc44e9999b705e27fec1995.png" class="custom-image original-size" data-id="72df437d38bb47798fba1e502308776f" data-width="3240" data-height="2056">We can import our mesh from obj to a garment and enable "Trace 2D Patterns from UV Map". This will create the patterns from our UVs. This is the stage, where we need to iterate a lot to have a "perfect" fit for our garment. We adjust the Sketch in ZBrush, adjust the UVs ... export, import "OBJ to Garment" .... and repeat. It`s much easier to fix fitting issues on the Sketch than in Marvelous.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/75652d70c85e4cb7899e38955ada77cf506e1952b1c2472586ea65cda56132b1.png" class="custom-image original-size" data-id="75652d70c85e4cb7899e38955ada77cf" data-width="3137" data-height="1788">When the garment is fitting, we can continue to work on the details. We crank up the particle distance, add borders and trims and work on the material/folds properties. After the final simulation, we merge some panels, where we don't want to have space inbetween and change the mesh type from Triangle to Quadrangulated for the final export.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/1b807f0c7b95481fa4cdc7ec3b9693cb1fae154b2e6044c59889a7f811a26e1a.png" class="custom-image original-size" data-id="1b807f0c7b95481fa4cdc7ec3b9693cb" data-width="3812" data-height="2060">Back in ZBrush we load our Garment into our "Modular Character Template" file to check and see, if the garment fits into our modular character system. Here we adjust the shape and add accessories and details. Afterwards we continue with the usual well known retopo process. I like to export the mesh as alembic (.abc) without decimating and import the mesh as alembic in Maya as GPU Cache. Saving tons of time and issues I had in the past with the decimating process. Viewport stays blazing fast, even with millions of polygons inside maya. <img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/430bd5e0dc6d408981ef5d357efbcb3cde28fdbc5161412293576dad029f6e79.png" class="custom-image original-size" data-id="430bd5e0dc6d408981ef5d357efbcb3c" data-width="2517" data-height="1237">We are texturing the garments with a "Material Based Approach" just like in Paragon. Texturing with Substance, Baking with Marmoset Toolbag (<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=nVes6OUyzdw">https://www.youtube.com/watch?v=nVes6OUyzdw</a>). This allows us to reuse a lot of assets and have a lot of customization option.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/1694588cfd8b4c35a6c1814800815bb2d0872e4adac945d0bf249b37dd285e6a.png" class="custom-image original-size" data-id="1694588cfd8b4c35a6c1814800815bb2" data-width="2512" data-height="1638"><h1>3. What is Marvelous Designer’s strong point to use?</h1>A way better structured and intuitive workflow, which results in high-quality assets/clothes. Another obvious point is the realistic folds and the very good reusability of garments across projects. Just pushing and pulling the garment during the simulation creates a completely different model from the same patterns. Personally I wouldn't want to work with any other tool than Marvelous Designer.<hr>by&nbsp;ENCURIOLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.encurio.com/">ENCURIO&nbsp;official website</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.faith-and-honour.com/">FAITH &amp; HONOUR: BARBAROSSA official website</a>Link to&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/faithandhonour/">Facebook</a>Link to&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/faithandhonour/">Instagram</a>

FAITH & HONOUR: BARBAROSSA

<img src="https://storagefiles.clo-set.com/public/community/202606/0426208b538549909d801a059154c1be/images/89615f1e1a004d3a88b777b9e9f10da3PORTADA_cabecera%20copia.png" class="custom-image hidden-thumbnail" data-id="89615f1e1a004d3a88b777b9e9f10da3" data-width="1496" data-height="1125">Hola comunidad CLO,Me llamo Cecilia Renau y llevo meses viviendo dentro de CLO3D. Lo que empezó como el software de mi Máster en Moda Digital y Avatares se ha convertido en el idioma con el que pienso el diseño.Este es el primer post de una serie en la que voy a compartir el proceso completo de mi TFM: GS70, una colección de moda digital inspirada en el béisbol femenino y en los años 70. Seis looks, 2 avatares personalizados en DAZ Studio, entornos en Blender, tejidos desarrollados en Substance Sampler y, en el centro de todo, CLO3D como herramienta principal de construcción de prendas.<img src="https://storagefiles.clo-set.com/public/community/202606/0426208b538549909d801a059154c1be/images/642859b808be4cd6bb7dc54640c78befPORTADA_cabecera.png" alt="642859b808be4cd6bb7dc54640c78bef" class="custom-image original-size" data-id="642859b808be4cd6bb7dc54640c78bef" data-width="1701" data-height="1026">Pero no voy a hablar solo del resultado. Quiero contaros el proceso real: los errores, los workarounds, lo que descubrí por accidente y lo que tardé semanas en entender.Porque creo que la comunidad hispanohablante de CLO necesita más voz. Más gente compartiendo flujos de trabajo en castellano, más referentes, más conversación técnica.Bienvenidos a GS70. Esto es solo el principio.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Ev-E2Q_dEp8?si=7ZfTBIt6-zTuvH81" 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>TIP CLO del post: Empieza con el avatar correctoAntes de hacer el patrón, define el avatar. En GS70 usé avatares de DAZ Studio exportados a FBX e importados en CLO.Asegúrate de que el avatar está en T-pose o A-pose antes de la importación (yo lo hago con "Autoconvertir en Avatar") y no olvides revisar el cabello, para que CLO pueda importarlo debes activar la teselación (yo suelo usar un valor de 2). ¡Ah! Si dentro de CLO no ves las cejas selecciona todo el avatar y pon la opacidad al máximo. Al aumentar la opacidad seguramente los ojos serán completamente blancos, no te preocupes, selecciona las zonas blancas y baja la opacidad.Exporta todos los mapas del Avatar, no sólo los que DAZ empaqueta, tendrás que buscarlos y hacerlo a mano pero valdrá la pena.<hr><h1 style="text-align: center">¿Tienes alguna duda?</h1>¡Gracias por tu tiempo!

GS70: mi TFM en CLO3D — y por qué el 3D cambió cómo entiendo el diseño

FV2 H-Line Layered Skirt

CONNECT Challenge : #Glamshot

FV2 360 degrees flare skirt

FV2 H-Line Mini Skirt

FV2_Fashion Pose_07

FV2 Tight Skirt

cristinas.pascal

아카데믹 챌린지

Traditional Costumes 3D Restoration

Championship Thread

Create Your Persona: 3D Character & Digital Fashion

Cut, Slash & Corset

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/UcB1yAiFN8w?si=U46PXMsuyX-mXy1H" frameborder="0" allowfullscreen="" width="800" height="480" 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>🌟 3 Key Reasons to Watch Our Latest Tutorial:<a target="_blank" rel="noopener noreferrer nofollow" href="https://lnkd.in/drhXAUqb￼￼1️⃣"> 1️⃣</a> For the 3D Design Community: This tutorial is crafted for designers looking to push boundaries in digital fashion and animation. 2️⃣ A Clear and Efficient Workflow: Discover how to dress your avatar in Unreal Engine using CLO or Marvelous with CONNECT’s Live Sync, explained step by step. 3️⃣ Inspiring Innovation Together: We’re thrilled to kick off the year by sharing knowledge and fostering creativity within our community. 📽️ If you’re passionate about 3D design and digital fashion, this tutorial is a must-watch. Let’s continue shaping the future of fashion together!<img src="https://storagefiles.clo-set.com/public/community/202501/a7fdc3d9e38f4871961cca5e9d1b914e/images/22c5cc6d3f8f4e889b600ff9cd610279161.0408.png" class="custom-image hidden-thumbnail" data-id="22c5cc6d3f8f4e889b600ff9cd610279" data-width="3413" data-height="1920">

Dress up any avatar in Unreal Engine with LiveSync

Zía ★ Aries

CAZ_M_Set_001 (Eastyday)

Dapper Tailored Shirt Set

M Retro Polo Jorts Set

F Futuristic Sci-Fi Dress

F Y2K Layered Bubble Set

F Idolstyle Bustier Denim Set

M Tshirt Denim Pant Set

<h2 style="text-align: center">Visualizing the characters' backstories- their likes, dislikes, occupation, hobbies, etc.- the garment is the most significant part of the storytelling.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/b27acf50c8bb43d8b46d109d5ed6b998till1.gif" class="custom-image original-size" data-id="b27acf50c8bb43d8b46d109d5ed6b998" data-width="432" data-height="540"><h1 style="text-align: center">Interview with Nishigandha Sahasrabudhe | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nishigandhasahasrabudhe8">Till Death Do Us Part Indeed</a> | 3D Artist</h1><hr><h1>Artist Introduction</h1>I am a 3D artist based out of Mumbai, India, who loves creating artwork in which the characters have unique little stories to tell. Having graduated in visual design, I started working professionally as a UI/UX designer and simultaneously started dabbling in the world of 3D art. I was always fascinated by 3D animated movies and games from an early age and wondered how the artists brought such breathtaking worlds to life. Soon this awe turned into a strong desire to try illustrating in 3D myself, so I slowly started exploring sculpting objects and characters in various 3D software and have never looked back since. Being self-taught has its challenges, but my love for 3D makes me want to explore and learn something new daily.<h1>What inspires you as an artist?</h1>Visualizing the characters' backstories- their likes, dislikes, occupation, hobbies, etc.- is one of my favorite processes in creating artwork. These backstories shape up the character, quite literally. I sculpt, texture, and light my illustrations, which I enjoy and have fun with.&nbsp; As I mentioned, I love to tell unique stories through my artwork and strive to make my scenes and characters as expressive as possible. I aspire to create art that can be seen, enjoyed, and experienced by all, and that inspires me and keeps me going.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/4bbc60571b1748868405c1c0aa610431till2.jpg" class="custom-image original-size" data-id="4bbc60571b1748868405c1c0aa610431" data-width="1432" data-height="1080"><h1>How would you describe your artwork stylistically?</h1>I want to describe my art as more “stylized” than realistic. Although I like to encapsulate and add real-world details into my pieces, my art style would definitely fall more into the cartoon / stylized domain.<h1>What is the story behind the piece?</h1>This piece is about a beautiful, mysterious woman who charms her lovers and leads them into perfidious situations. I have always wanted to create a villainous character, but I wanted to avoid the obvious visual cues that are generally used to depict a villain or an evil character. So I tried to explore and push the style and tried to depict the corrupt motives of the character using facial form and expressions. Everything about the character, including her beautiful features and gorgeous clothes, contrasts her dark, murderous personality.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/4a18cfb0ff9f44799762dcf264989aa2till3.jpg" class="custom-image original-size" data-id="4a18cfb0ff9f44799762dcf264989aa2" data-width="1080" data-height="1350"><h1>What is this character? Are they a part of a larger story?</h1>Yes, it is a part of a larger story. The main character is a beautiful, mysterious woman who charms her lovers and leads them into perfidious situations. In this one, she is in her wedding gown and looks like someone who has just accomplished what she had set out for. The apple, with the green glow, is a poisoned apple, and the fact that one bite has been taken from it signifies that she has just turned her latest prey into her victim.<h1>How does the garment contribute to the storytelling?</h1>The garment is the most significant part of the story. The witch’s preys are wealthy but asinine men who fall for her beauty and ignore all the warning signs. She feeds off such men to further her wicked motives. Her usual method is, making the men fall head over heels in love with her, marrying her, and then slaughtering them on her wedding night. A poisoned apple is her choice of weapon. The witch is swift and clean and leaves no traces once she has made her kill. The poisoned apple makes it easy and leaves no mess. The beautiful gown conveys that she is either just married or about to get married. The style indicates an older time period. The gorgeous gown shows her sophisticated taste and gives clues about her personality. In this piece with no background, the garment is an excellent indicator to hint at the character and the story.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/31ba9a6d582a4936b43d1f3323c4ee95till4.jpg" class="custom-image original-size" data-id="31ba9a6d582a4936b43d1f3323c4ee95" data-width="1080" data-height="1350"><h1>Where did you use Marvelous Designer on this piece?&nbsp;</h1>The complete gown and the veil have been created using Marvelous Designer.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/2fcf11f762df4732ae536d2221acb81dtill5.png" class="custom-image original-size" data-id="2fcf11f762df4732ae536d2221acb81d" data-width="936" data-height="1253"><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/c64efc6c33484bf59e7c0984e0d93306till6.png" class="custom-image original-size" data-id="c64efc6c33484bf59e7c0984e0d93306" data-width="936" data-height="1253"><h1>Why is Marvelous Designer the best choice for digital apparel creation?</h1>Marvelous Designer allowed me to experiment with digital clothing patterns and different styles for the outfit. The garment easily forming (from) just 2D patterns helped me visualize how the final piece would look. The cloth simulations helped with capturing the flow of the garment accurately. It’s a very intuitive tool to work with. Creating this garment with any other tool wouldn’t have been so simple.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/dc2b4395e14e457888c13ca985b8c4e8till8.png" class="custom-image original-size" data-id="dc2b4395e14e457888c13ca985b8c4e8" data-width="2048" data-height="1152"><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/60a5dab2491f462eb9c7081ad30719detill9.png" class="custom-image original-size" data-id="60a5dab2491f462eb9c7081ad30719de" data-width="2048" data-height="1152"><h1>What were the ups &amp; downs in creating this piece?</h1>I am relatively new to Marvelous Designer software. I have used it before, but not as intensively as in this piece. Figuring out the 2D patterns and stitching the pieces together was one of the process’s most difficult parts since I had minimal sewing knowledge. That was challenging, but seeing your digital garment simulate and drape over your character perfectly was extremely rewarding.<h1>Can you share any tips and tricks with Marvelous Designer with the community?</h1>Finalizing the dress design and the pattern and having a clear vision of what design I wanted to go with helped me a lot throughout the process and made the process much faster. The abundant tutorials and videos made available by Marvelous Designer helped me a great deal while creating this piece. Instead of following one tutorial step by step, having a vision and finding answers to questions helps a lot while learning any new tool.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/b1b358d706704ba9b44822dcee73b24ftill10.jpg" class="custom-image original-size" data-id="b1b358d706704ba9b44822dcee73b24f" data-width="1920" data-height="1080"><h1>What new things did you learn on this project that you might want to share?</h1>I consider myself relatively new to the software, so I learned a great deal while working on this piece. Learning how to break up the garment correctly into pieces, stitch them up, and how to have fabrics layered one on top of the other without making them interact/collapse into one another is something I learned. Although I did not use this in the end piece, I also learned how to add animation to your avatar and make the garment respond after being draped on the T pose to the final pose of the avatar along with its interaction with the background elements is something I had fun exploring too.<img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/53856a0e65f548c1ad424789ca0219d9till11.jpg" class="custom-image original-size" data-id="53856a0e65f548c1ad424789ca0219d9" data-width="5333" data-height="5333"><h1>What were some unexpected outcomes that occurred while working on this?</h1>I started this piece feeling extremely overwhelmed and intimidated, thinking of the task’s complexity. But the process felt very intuitive, and I enjoyed it more than I thought I would. I started exploring a lot of fashion trends and tweaked my pose and character a bit so it matched and showed off the garment.&nbsp;Suppose you're looking for a powerful design software for creating digital garments that's easy to use. Marvelous Designer 12 is perfect for you! It's available on Windows and macOS, and personal licenses are perfect for freelancers or small studios. Enterprise licenses are also available if you're working with a larger team.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nishigandhasahasrabudhe8">Artstation</a>

Till Death Do Us Part Indeed 

<h2 style="text-align: center">Meet Lura ( <a target="_blank" rel="noopener noreferrer nofollow" href="https://x.com/Lu_Ra_999">@Lu_Ra_999</a> ) - 3D Artist, World Designer, and Director for world creation in VRChat.&nbsp;</h2><h2 style="text-align: center">As the director of <a target="_blank" rel="noopener noreferrer nofollow" href="https://quickbrown.net/">QuickBrown Design Studio</a>, Lura shares his story of using Marvelous Designer for world/asset creation: a journey of designing and creating a comfortable, relaxing space within virtual reality.</h2><hr> <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/a5e8966cb2064b99992b694ca653c6621-3.jpg" alt="a5e8966cb2064b99992b694ca653c662" class="custom-image original-size" data-id="a5e8966cb2064b99992b694ca653c662" data-width="2896" data-height="4096"><img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/71f7c4465ccb42b0b0e53af4f07bbe68backpack.jpg" alt="71f7c4465ccb42b0b0e53af4f07bbe68" class="custom-image original-size" data-id="71f7c4465ccb42b0b0e53af4f07bbe68" data-width="2161" data-height="1329"><h1>1. Artist Introduction</h1>My name is Lura, an artist primarily active in VRChat, where I engage in world creation, art direction, modeling, and asset sales. I specialize in creating 3DCG spaces that operate in real-time, designing living spaces and event venues for video games and VR. After graduating from Musashino Art University, I began my creative activities in VRChat while working in the game industry. After gaining experience creating architectural assets and gimmicks for events such as Virtual Market and ShaderFes, I became a freelancer in 2023. I currently operate under the name “QuickBrown Design Studio.”<hr><h1>2. Art Direction and Visual Style</h1>A representative example of my work is "Luminous Hotel," which was designed around the theme of a luxury hotel space, intended to be comfortable for extended stays. This world also includes many pleasant gimmicks.For "Floating Airship," which has been visited by over 2.8 million people, I used cloth extensively to create a soft and relaxing atmosphere. I aimed for a design that would feel reassuring in VR, as like to “remove the sharp edges.”I am always conscious of creating "a space that doesn't become uncomfortable even after spending a long time." I am particularly focusing on lighting, to emphasize a calm atmosphere. In VR, users can observe objects at very close range, so I finish my work with a level of precision that avoids any sense of uneasiness.<hr><h1>3. Production Pipeline and Techniques Using Marvelous Designer</h1>[Use Case in World Creation: Floating Airship]<ol><li>Importing the World Mesh Since Marvelous Designer allows the creator to import existing world meshes as they are, I imported the space from "Floating Airship" to work with. Image of Floating Airship imported into Marvelous Designer<img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/55e43f4c6b8048689ea3be9897930bfe1-0.jpg" alt="55e43f4c6b8048689ea3be9897930bfe" class="custom-image original-size" data-id="55e43f4c6b8048689ea3be9897930bfe" data-width="2084" data-height="1398"> </li><li>Physics-Based Placement of Cloth and Futon mattresses By using physics simulations to naturally arrange cloth and futons within the imported space, I was able to achieve a soft and relaxing atmosphere. Image of cloth and futons being placed in the space with physics <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/5c68f2cc459c499390d8224b25f2ea811-1.jpg" alt="5c68f2cc459c499390d8224b25f2ea81" class="custom-image original-size" data-id="5c68f2cc459c499390d8224b25f2ea81" data-width="2086" data-height="1395"></li><li>Completed Form In the completed space, the cloth arrangement enhanced the overall atmosphere of the space, resulting in a comfortable and inviting environment. <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/941bb29c89eb494d982cd8a43cab5ce51-3.jpg" alt="941bb29c89eb494d982cd8a43cab5ce5" class="custom-image original-size" data-id="941bb29c89eb494d982cd8a43cab5ce5" data-width="2896" data-height="4096"></li></ol><hr><h1>[Use Case in Asset Creation: Backpack]</h1><ol><li>Modeling in Marvelous Designer I created a backpack asset using Marvelous Designer. On Marvelous Designer, it's possible to make precise adjustments as if inflating it with air, which allows for the expression of a natural silhouette that looks like it's packed with items. I did not add thickness at this stage, which I exported directly to Blender. Completed backpack in Marvelous Designer <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/26c0178253ca407f83c52cb4dd8810aa2-1.jpg" alt="26c0178253ca407f83c52cb4dd8810aa" class="custom-image original-size" data-id="26c0178253ca407f83c52cb4dd8810aa" data-width="1863" data-height="1393"> Image of the model imported into Blender<img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/6f7f4cc2085b4a789e235fb88df34e4f2-2-1.jpg" alt="6f7f4cc2085b4a789e235fb88df34e4f" class="custom-image original-size" data-id="6f7f4cc2085b4a789e235fb88df34e4f" data-width="2110" data-height="1399"> Image after cleaning the topology with QuadRemesher and adding thickness <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/8a71ddcb55f2499dbd2e0aeda92d0c2e2-2-2.png" alt="8a71ddcb55f2499dbd2e0aeda92d0c2e" class="custom-image original-size" data-id="8a71ddcb55f2499dbd2e0aeda92d0c2e" data-width="1920" data-height="1080"> </li><li>Adjustments in Blender I imported the model into Blender without any thickness and first cleaned up the topology. Rounding the corners of patterns in Marvelous Designer tends to complicate the topology, so I run QuadRemesher on it while it's still a flat plane to ensure a clean topology. Afterward, I use the Solidify modifier to add thickness where needed. Image of the model imported into Blender <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/072141ee0b154a2e888b4dc5115ce98f2-2-1.jpg" alt="072141ee0b154a2e888b4dc5115ce98f" class="custom-image original-size" data-id="072141ee0b154a2e888b4dc5115ce98f" data-width="2110" data-height="1399"></li></ol>Image after cleaning the topology with QuadRemesher and adding thickness <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/65cc5d46974246b18cfc6801e6f701ed2-2-2.png" alt="65cc5d46974246b18cfc6801e6f701ed" class="custom-image original-size" data-id="65cc5d46974246b18cfc6801e6f701ed" data-width="1920" data-height="1080"><ol start="3"><li>UV Unwrapping By cleaning up the topology beforehand, the UV unwrapping process after adding thickness becomes much smoother. Overall image of the UV layout<img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/1c65997953464c73a072e13b939237722-3.png" alt="1c65997953464c73a072e13b93923772" class="custom-image original-size" data-id="1c65997953464c73a072e13b93923772" data-width="1920" data-height="1080"> For creating this backpack, I clearly divided the roles between UV1 and UV2.</li></ol><hr><ul><li>UV1 (For Textures)<ul><li>Purpose: To ensure proper texture expression in Substance Painter.</li><li>Method: Separate the cloth faces from the thickness-added parts. Specifically, unwrap the thickness parts to be "straight."</li><li>Advantage: This allows curvature and edge maps to work cleanly, making it possible to naturally add dirt in the seams or wear on the corners. Straightening the thickness parts also prevents distortion during painting. UV1 (Unwrap with cloth faces + straightened thickness parts) <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/d75927230be14f96bd8858338021df772-4.png" alt="d75927230be14f96bd8858338021df77" class="custom-image original-size" data-id="d75927230be14f96bd8858338021df77" data-width="1920" data-height="1080"></li></ul></li></ul><hr><ul><li>■ UV2 (For Lightmaps)<ul><li>Purpose: To prevent artifacts when baking lightmaps in Unity.</li><li>Method: Unwrap the cloth faces and thickness parts as connected pieces to make seams less noticeable.</li><li>Advantage: Separating them like in UV1 can lead to shadows and noise appearing in the seams due to insufficient resolution. Therefore, for UV2, I unwrap them as continuously as possible. A little stretching is acceptable as it tends to look natural in the final lighting. UV2 (Unwrap with cloth faces and side parts connected) </li></ul></li></ul><img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/8ca7dadbada440eabf79f2fc4731ab042-5.png" alt="8ca7dadbada440eabf79f2fc4731ab04" class="custom-image original-size" data-id="8ca7dadbada440eabf79f2fc4731ab04" data-width="1920" data-height="1080"><hr><ol start="4"><li>Texturing (Substance Painter) By carefully unwrapping UV1, the curvature map functions correctly. This allows me to significantly enhance the texture by adding dirt and color variations to the edges. Image from Substance Painter (Front) <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/158643ac586c461ab4e26df6d5e06d682-6-1.jpg" alt="158643ac586c461ab4e26df6d5e06d68" class="custom-image original-size" data-id="158643ac586c461ab4e26df6d5e06d68" data-width="1460" data-height="1382"> Image from Substance Painter (Back) <img src="https://storagefiles.clo-set.com/public/community/202510/78f7f40b240a49019ba8dad9d0f81325/images/2a9a6e72d749470f9db097303262ea4c2-6-2.jpg" alt="2a9a6e72d749470f9db097303262ea4c" class="custom-image original-size" data-id="2a9a6e72d749470f9db097303262ea4c" data-width="1458" data-height="1388">When using Marvelous Designer for real-time environments, it is crucial to proceed with production while keeping these subsequent steps in mind.</li></ol><hr>

[EN] Lura: Designing Comfortableness in Virtual Reality

<h2 style="text-align: center">Ilya Zakharovskiy, In Wanderer: The Fragments of Fate, created realistic tents and fabric structures with Marvelous Designer. It enabled high-density cloth simulations with natural folds, eliminating the need for manual sculpting. The clean, UV-ready meshes streamlined the workflow, saving time in Maya and enhancing texture detailing in Substance Painter.</h2><h1 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/7b58ff7056eb49eaaa88186fcb30a539ilya-zakharovskiy-spanishtentlarge.jpg" alt="7b58ff7056eb49eaaa88186fcb30a539" class="custom-image medium-size" data-id="7b58ff7056eb49eaaa88186fcb30a539" data-width="3820" data-height="2160"> Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/zumwolt">Ilya Zakharovskiy</a> | 3D Environment &amp; Vehicle Artist</h1><h1>Artist Introduction &amp; Project Insights</h1>Hello! My name is Ilya, I'm a 3D Environment and vehicle artist from Auckland, New Zealand. I also love the Concept design of vehicles, props, weapons, and futuristic environments. Recently, I've been working on the project Wanderer: The Fragments of Fate, a VR quest adventure game released on multiple platforms. In this article, I'm going to talk about the workflow of using Marvelous Designer in Environment art for games.<h1>Pipeline Overview</h1>A little bit of story first. In Wanderer: The Fragments of Fate, the ability to travel in time sends the player to ancient Mayan Civilization when the Spanish Empire was continuing its conquest of the Americas. Spanish conquistadors used a large variety of tents and movable shelters in their camps. In order to create them, I used Marvelous Designer in my pipeline, along with my other tools such as Maya, Marmoset Toolbag, Substance Painter, and Photoshop.At the beginning, we started with a simple blockout to get shapes and sizes right for the player in VR. When it was done, I made a fabric layout for future tents and canopies in Maya, keeping the proper UV layout to use as a pattern in Marvelous Designer. At this stage, it is important to already know how many texture sets you will be able to use; in my case, it was 2 texture sets for an entire camp, including large fabric parts and little dressing details. I've made a kit of future tents by making unique parts only, they will be duplicated later.<img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/1be98c256ffd45628f05bf57053b0499Screenshot_2.jpg" alt="1be98c256ffd45628f05bf57053b0499" class="custom-image large-size" data-id="1be98c256ffd45628f05bf57053b0499" data-width="2147" data-height="1245"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/393d981a0ad146ffbbaea83dccaf4fb0Screenshot_3.jpg" alt="393d981a0ad146ffbbaea83dccaf4fb0" class="custom-image large-size" data-id="393d981a0ad146ffbbaea83dccaf4fb0" data-width="2147" data-height="1242">In Marvelous Designer, I've made cloth simulation with high mesh density, to keep all of those fabric foldings natural, without sculpting anything later. In a result I've got two sets of meshes, low and high poly. The next step was creating a UV layout and adding details such as ropes, cones, and wood poles in Maya. Because on the output from Marvelous Designer, you got clean meshes with already unwrapped UV's, we can skip the geometry cleaning and UV unwrapping in Maya, which saves us some time.Now it's is baking and texturing stage. I've added patterns, seams and stitches, alongside with fabric micro details in Substance Painter. I love this stage, it's like a rendering, you already see the final result.The final stage is the assembly of a variety of tents and canopies in Maya, using premade parts. Here, I need to create collision models and lightmaps to use them in the Engine. And then, everything is imported and set up in Unreal Engine, and it's ready to be placed across the map.<img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/bfc7ff3608df41edaf92d4d981dc8bd8Canopy_wireframe_01_FullQuality_002.jpg" alt="bfc7ff3608df41edaf92d4d981dc8bd8" class="custom-image original-size" data-id="bfc7ff3608df41edaf92d4d981dc8bd8" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/4fe5954bcde54a82bbc531571e180883Select%20a%20file%20name%20for%20output%20files.jpg" alt="4fe5954bcde54a82bbc531571e180883" class="custom-image large-size" data-id="4fe5954bcde54a82bbc531571e180883" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/11dac1be54d845c3a0bff1c9b8e6b845Tent_02.jpg" alt="11dac1be54d845c3a0bff1c9b8e6b845" class="custom-image large-size" data-id="11dac1be54d845c3a0bff1c9b8e6b845" data-width="3820" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/22b2e4405b2446338fe1af0fb74752dfTent_01.jpg" alt="22b2e4405b2446338fe1af0fb74752df" class="custom-image large-size" data-id="22b2e4405b2446338fe1af0fb74752df" data-width="3820" data-height="2160"><h1><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/a1a4ee19830946c696c0ec81888c77a5Screenshot_4.jpg" alt="a1a4ee19830946c696c0ec81888c77a5" class="custom-image large-size" data-id="a1a4ee19830946c696c0ec81888c77a5" data-width="2171" data-height="1096"> Tips for Fellow Artists</h1>Sometimes it's better to create a main cloth simulation in Marvelous Designer and add micro details such as folds and torn in Zbrush. If your fabric components will be attached to some other hard parts, it's better to make them in your 3D package (3DsMax, Maya, Blender, etc.) and import them into Marvelous to keep the connection precise.<h1>Future Plans</h1>It is not the first time I'm using Marvelous Designer in my workflow. Previously, I've used it for environment art and concept design often. Marvelous is part of my main toolset, and I'm going to use it again soon, in my project.<h1>Overall Experience</h1>In this article, I've described the process of creating tents and canopies, but I used Marvelous for multiple assets during the development of Wanderer: The Fragments of Fate. Certainly, Marvelous Designer saves a lot of time when working with cloth simulation and provides the best result. It is easy to use reliable software.<img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/607179df353f4c6399e9bd09b1077f93ilya-zakharovskiy-spanishtentmedium.jpg" alt="607179df353f4c6399e9bd09b1077f93" class="custom-image original-size" data-id="607179df353f4c6399e9bd09b1077f93" data-width="3820" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/c5170a71bba54c3199bc2a7309c62a54ilya-zakharovskiy-spanishtentsmall.jpg" alt="c5170a71bba54c3199bc2a7309c62a54" class="custom-image original-size" data-id="c5170a71bba54c3199bc2a7309c62a54" data-width="3820" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/b18a3a47130e4043bd6945485b73a6d3ilya-zakharovskiy-spanishcanopy.jpg" alt="b18a3a47130e4043bd6945485b73a6d3" class="custom-image original-size" data-id="b18a3a47130e4043bd6945485b73a6d3" data-width="3820" data-height="1857"><img src="https://storagefiles.clo-set.com/public/community/202507/356e2771a70e4d6c88ab87892452a6d2/images/a2fa836b85034c9080e9c9e46e77ec0ailya-zakharovskiy-spanishtentmedium.jpg" class="custom-image hidden-thumbnail" data-id="a2fa836b85034c9080e9c9e46e77ec0a" data-width="2012" data-height="2012">

Realistic Tent Simulation for Wanderer: The Fragments of Fate 

<h2 style="text-align: center">Alsu Rakhimova has walked us through the SWAT Warrior project, discussing the idea behind the model and explaining how the character's tactical outfit was made using Marvelous Designer.</h2>This article was originally published on <a target="_blank" rel="noopener noreferrer nofollow" href="https://80.lv/articles/designing-clothes-for-a-3d-character-in-marvelous-designer/">80 Level </a>in English under Artist interview by Alsu Rakhimova. Interview conducted by Arti Sergeev.<hr><img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/385161d3239949d9bbaf419432ecb621alsu-rakhimova-3%20%281%29.jpg" class="custom-image original-size" data-id="385161d3239949d9bbaf419432ecb621" data-width="1920" data-height="3611"><h1>Interview with Alsu Rakhimova | The SWAT Warrior Project﻿ | 3D Character Artist</h1><h1>The SWAT Warrior Project</h1>Hi everyone! My name is Alsu, and I am a 3D Character Artist based in Vancouver, currently working for PlayStation Visual Arts studio. Since I joined the company last year, I had an opportunity to work on a very exciting upcoming game. Unfortunately, I cannot share more at the moment, but I am looking forward to itI created the SWAT Warrior project as my final work for my Advanced term at Think Tank Training Centre in early 2022. My supervisor was Nicolas Niño, who is a great Character Artist. The project was based on the concept by Dia Nak. The whole project took just 11 weeks so it was important for me to learn how to efficiently use the software at my disposal, including Unreal Engine 4 and Marvelous Designer. I created the jacket and the pants in Marvelous Designer.<h1>Studying Marvelous Designer</h1>I was introduced to Marvelous Designer at my school. We had an introductory course taught by Kenzo Nishidate. The interface of the software was very intuitive, so it was easy to quickly create simple assets and start garment simulation. I was very excited when I created my very first asset in Marvelous Designer – a pillow! I was so amazed by the garment simulation that I kept dragging the pillow up and down just to see how it was interacting with the environment. Very soon, I was able to create more complicated assets like buttoned shirts and pants. I think that the cloth simulation of MD is a great help for character artists while creating garments or even accessories like shoes or bags.<h1>First Steps</h1>Before starting any project, I always gather reference images of garments in PureRef to make sure I understand the construction of the garment and the cloth texture. You will need this understanding while building the garment in the software and selecting the fabric preset.For this character, I gathered a lot of images of SWAT uniforms including tactical vests, belts, leg protectors, etc.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/2a35aedd04de44f09226f48f4d8994f5widen_1840x0.jpg" class="custom-image original-size" data-id="2a35aedd04de44f09226f48f4d8994f5" data-width="1840" data-height="1160">Once I have a better idea of how my garment is supposed to look, I create a simple blockout of it in ZBrush. This way, I am getting a better understanding of the overall silhouette and construction of the garment. For tight-fitting clothes like pants, I usually just use the Poly Paint brush to schematically outline the seams, pockets, and zippers on the body base mesh.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/20ce30dd23c44da88ed31e6fc5914051widen_1840x0_%281%29.jpg" class="custom-image original-size" data-id="20ce30dd23c44da88ed31e6fc5914051" data-width="1840" data-height="1829"><h1>Setting Up The Outfit</h1>The next step is to export the body base mesh to Marvelous Designer and start creating the patterns. There are two ways to do that: you can either create a pattern from scratch (with or without the help of existing pattern images that you can find on Google) or you can divide your ZBrush garment into sections and import them as ‘garment’ to Marvelous Designer. The latter method was demonstrated by Arno Schmitz during The Character Art of Horizon Zero Dawn with Guerrilla Games panel: LINKThere are advantages and disadvantages to both options, so go with the option that works for you.Tips for beginners:1. In order to get the proper folds that fit the garment texture, experiment with different fabric presets.2. Take advantage of the symmetry and duplicate your patterns to save time.3. Learn the Marvelous Designer shortcuts for a smoother switch between instruments.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/55dfeeb8116b40d7ab4702b55df910e6widen_1840x0_%282%29.jpg" class="custom-image original-size" data-id="55dfeeb8116b40d7ab4702b55df910e6" data-width="1840" data-height="1056">Once you are happy with the fitting, it is time to start adding smaller details like seam piping, padding, and extra folding. It is important to keep this step last since it would be difficult to make big changes afterward. On top of that, garment simulation with smaller details requires a smaller particle distance, making the simulation process slower.Tips for beginners:1. Use shrinkage warp and weft to create nice small wrinkles on the garment piping2. Decrease the particle distance to get better garment simulation results3. To make the simulation process faster, try freezing/deactivating the garment pieces that you are not working with right now4. Obvious but important advice – save often and keep version of your project just in case.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/3b3355067cb74bca833f02df2fdd9e0fwiden_1840x0_%283%29.jpg" class="custom-image original-size" data-id="3b3355067cb74bca833f02df2fdd9e0f" data-width="1840" data-height="867">After the garment is complete in Marvelous Designer, I usually export it back to ZBrush using this method by Outgang to refine some folds and to add missing elements like zipper sliders.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/ee8f807769534f0fa651551d645b4f0awiden_1840x0_%284%29.jpg" class="custom-image original-size" data-id="ee8f807769534f0fa651551d645b4f0a" data-width="1840" data-height="733"><h1>Approach to Texturing</h1>I textured the outfit in Substance 3D Painter trying to stick to a procedural method for as long as possible. This allowed me to quickly change the textures to my liking and even use the textures later as a smart material in my later projects. Here are the main principles that I try to stick to while texturing the outfit:1. When it comes to color and roughness variation, you want to start with big-scale adjustments and then move to the smaller ones. The key is to zoom out to see the bigger picture from a distance. This way I check if color/roughness/specular variation is good enough.2. Use the combination of procedural and hand-painted approaches. The combination of the two approaches will give a unique look to your textures and will save some time. I use a “Dirt” brush for almost all my hand-painted fixes.3. While texturing the character, I use a very neutral Environment Map (Display settings &gt; environment settings &gt; Environment Map: “Soft 1LowContrastFront 2Backs”). It helps me to avoid any color reflections on the textured object.As soon as you have the base color for the character – put the character in the rendering engine right away and confirm that the scale is right.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/c54419aeac48426c8d095edfeac7abf2widen_1840x0_%285%29.jpg" class="custom-image original-size" data-id="c54419aeac48426c8d095edfeac7abf2" data-width="1840" data-height="991"><img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/c0e7c56899ec462daff22477416d562cwiden_1840x0_%287%29.jpg" class="custom-image original-size" data-id="c0e7c56899ec462daff22477416d562c" data-width="1840" data-height="996"><h1>Rendering &amp; Presentation</h1>When presenting the game character in the real-time engine, the texture budgets can lead to some small clothing details looking washed out/blurred. In order to preserve the high fidelity of clothes, I add fabric detail normal to all my shaders.<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/e2d6b9336feb460c8b1323193aa5787e65573d9276c65.gif" class="custom-image original-size" data-id="e2d6b9336feb460c8b1323193aa5787e" data-width="1999" data-height="910"><h1>How to Get Started With Marvelous Designer?</h1>I would advise beginners to start with the basics – try and create a very simple garment and export it to a different software (Maya, ZBrush, Blender, etc.). It will help you to understand both how the Marvelous Designer UI works and how to integrate it into your workflow. There are a lot of free step-by-step video tutorials that could help you to learn. Personally, I highly recommend such YouTube channels as <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/@Outgang/playlists">Outgang </a>and <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/@EvgeniiaPetrova">Evgeniia Petrova</a>.<h1>Alsu Rakhimova, 3D Character Artist</h1><h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artdungeon">Artist Artstation</a></h1>Interview conducted by Arti Burton<img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/598e4b9d88fb4704b89371d083b9caa2alsu-rakhimova-3%20%281%29.jpg" class="custom-image hidden-thumbnail" data-id="598e4b9d88fb4704b89371d083b9caa2" data-width="1920" data-height="3611"><img src="https://storagefiles.clo-set.com/public/community/202412/5441f9b4e35e464d84f8e6307744762b/images/6368571efab742fe9907edc940df55a5alsu-rakhimova-3%20%281%29.jpg" class="custom-image hidden-thumbnail" data-id="6368571efab742fe9907edc940df55a5" data-width="1920" data-height="1951">

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Marvelous Designer Official

Marvelous Designer Official