<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/ea57f6104ee9450fa27169dc4662a2famd_pic.png" class="custom-image hidden-thumbnail" data-id="ea57f6104ee9450fa27169dc4662a2fa" data-width="1150" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202606/62d7c6e20b5f439fade6598fd25b1036/images/86b1931c9b1d450a9dc8340b4a94c0eamd_pic2.png" alt="86b1931c9b1d450a9dc8340b4a94c0ea" class="custom-image original-size" data-id="86b1931c9b1d450a9dc8340b4a94c0ea" data-width="1920" data-height="1080"> 2025년 10월 방영을 시작한 애니메이션 &lt;완댄스&gt;는 스트릿 댄스라는 독특한 소재를 다룬 야심 찬 프로젝트입니다. 제작사인 사이클론 그래픽스(CYCLONE GRAPHICS)는 댄서의 격렬한 움직임과 스트릿 웨어 특유의 '헐렁하고' 다양한 의상 변화를 사실적으로 묘사하기 위해 마블러스 디자이너 도입이 "필연적"이었다고 말합니다.</h2>이들은 빠르고 정확한 물리 시뮬레이션을 통해 기존 방식으로는 불가능했던 '압도적인 디자인 수'와 '정확한 의상 움직임'을 구현했으며, 결과적으로 획기적인 제작 시간 단축을 이뤄냈습니다. 본 기사에서는 마블러스 디자이너에서 도출된 사실적인 주름 데이터를 '애니메이션 스타일'에 맞게 조정하기 위해 블렌더를 활용한 독자적인 조정법과, "움직이는 상태가 곧 의상의 완성형"이라는 철학을 바탕으로 완벽하고 역동적인 실루엣을 추구한 제작 방식을 조명하며 기술적 도전의 뒷이야기를 파헤칩니다.또한 디지털 패션 전문 기업인 주식회사 텐키(Tenju Co., Ltd.)와의 협업의 중요성, 그리고 마블러스 디자이너가 애니메이션 제작 전체의 미래 가능성을 어떻게 확장할지에 대해서도 다룹니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/5bmRV7rhh-g?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><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/NJGTXWu5JBg?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><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/11H4HaS5qfI?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><hr>1.&nbsp;&nbsp; 스트릿 댄스와 마블러스 디자이너 [Q]: &lt;완댄스(Wandance)&gt;는 스트릿 댄스에 특화된 매우 독특한 애니메이션입니다. 이 프로젝트에서 마블러스 디자이너(MD)를 도입하게 된 이유는 무엇인가요?&nbsp;[A]: 마블러스 디자이너의 고속이면서도 정확한 물리 시뮬레이션은 기존 3DCG에서 구현하기 어려웠던 움직임의 중량감과 사실적인 주름 디테일을 제공해 주었습니다. 실제 사용 과정에서 다른 3DCG 소프트웨어의 물리 시뮬레이션과 비교했을 때, 사후 처리 및 수정 작업량이 현저히 줄어들었습니다.&lt;완댄스&gt; 제작에서 가장 큰 과제는 방대한 양의 댄스 애니메이션 작업과 병행하면서, 스트릿 패션의 리얼리티를 추구한 다채로운 의상 베리에이션을 준비하는 것이었습니다. 기존의 3DCG 제작 방식이었다면 의상마다 개별적으로 모델링을 하고 웨이트 페인팅(weight painting)이나 리깅(rigging) 같은 방대한 작업을 반복해야 했을 것입니다. 하지만 이번 프로젝트에서는 마블러스 디자이너의 3D 재봉 기능을 활용해 이 모든 의상을 제작했습니다.<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/c1f60d1e1ac94da6b14ca9dfe5ec45fa1%E3%82%B9%E3%83%88%E3%83%AA%E3%83%BC%E3%83%88%E3%83%80%E3%83%B3%E3%82%B9%E3%81%A8MD%E3%81%AB%E3%81%A4%E3%81%84%E3%81%A61_clothes.jpg" alt="c1f60d1e1ac94da6b14ca9dfe5ec45fa" class="custom-image original-size" data-id="c1f60d1e1ac94da6b14ca9dfe5ec45fa" data-width="1998" data-height="2897">마블러스 디자이너를 통한 물리 시뮬레이션을 도입함으로써, 복잡한 수작업을 반복하지 않고도 댄서들의 격렬한 움직임에 연동되는 정확한 의상 거동을 구현할 수 있었습니다. 덕분에 기존 방식으로는 불가능했을 '압도적인 디자인 수'와 '사실적인 시뮬레이션' 사이의 균형을 맞출 수 있었다고 생각합니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/cGz1WbI6lhg" 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>.또한, 3D 재봉 방식은 '의상을 입힌 후의 사이즈 조절'이 용이하여, 힙합 패션 특유의 헐렁한실루엣을 매끄럽게 미세 조정할 수 있었습니다. 댄스 시뮬레이션을 통해 움직이는 상태의 실루엣을 실시간으로 확인할 수 있다는 점은 제작 현장에서 큰 강점이었습니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/PIE93aniDKk" 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>지금 되돌아보면, &lt;완댄스&gt;와 같은 프로젝트에서 MD를 채택한 것은 단순한 선택이 아니라 '필연'이었다고 확신합니다.<hr>2. 리얼리즘과 애니메이션적 표현의 균형[Q]: 마블러스 디자이너는 실사적인 물리 법칙에 기반한 의상 표현으로 잘 알려져 있습니다만, 애니메이션에서는 원하는 표현을 얻기 위해 어느 정도 '조정된' 룩이 필요하다고 생각합니다. 이 두 가지 사이에서 어떻게 균형을 잡으셨나요? (예를 들어, 시뮬레이션 결과가 너무 지저분해 보이지 않도록 주름을 단순화하거나, 애니메이션 스타일의 룩에 맞춰 패턴에 특별한 조정을 가하셨나요?)[A]: &lt;완댄스&gt;의 모션캡쳐 컨셉은 '댄서가 그리는 애니메이션'입니다. 저희는 댄스의 역동성뿐만 아니라, 의상의 주름 하나하나가 댄서의 움직임에서 태어난 표현이어야 한다고 믿었습니다.마블러스 디자이너는 매우 유연하고 사실적인 원단의 굽힘을 재현하지만, 그 상태 그대로는 애니메이션 스타일의 룩에 담기에는 정보량이 너무 많습니다. 따라서 의도적으로 '주름의 수를 줄이고 정리하는' 조정이 필요했습니다. 이 룩 조정의 핵심은 이번 프로젝트의 메인 툴인 블렌더였습니다. 마블러스 디자이너에서 생성된 사실적인 주름 정보를 직접 사용하는 대신, 블렌더의 지오메트리 노드(Geometry Nodes)를 활용했습니다. 원본 노멀(Normal) 정보에 블러(Blur)를 적용하여 이를 속성(Attribute)으로 저장한 뒤, 쉐이더 에디터(Shader Editor) 측에서 이를 불러와 제어했습니다. 이를 통해 마블러스 디자이너에서 비롯된 사실적인 거동을 활용하면서도, 전통적인 2D 작화 애니메이션과 완벽하게 어우러지는 '애니메이션 스타일의 룩'으로 치환할 수 있었습니다.<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/7d22e96893b04c93a4087516269b543f2%E3%83%AA%E3%82%A2%E3%83%AA%E3%82%B9%E3%83%86%E3%82%A3%E3%83%83%E3%82%AF%E3%81%95%E3%81%A8%E3%82%A2%E3%83%8B%E3%83%A1%E7%9A%84%E8%A1%A8%E7%8F%BE%E3%81%AE%E3%83%90%E3%83%A9%E3%83%B3%E3%82%B91_%E3%81%97%E3%82%8F%E6%B3%95%E7%B7%9A%E3%82%B9%E3%83%A0%E3%83%BC%E3%82%B9.png" alt="7d22e96893b04c93a4087516269b543f" class="custom-image original-size" data-id="7d22e96893b04c93a4087516269b543f" data-width="3508" data-height="2480">&lt;완댄스&gt;의 마블러스 디자이너 워크플로우에서 또 다른 특징은 모든 조정이 '댄스 중의 움직임'을 기준으로 이루어졌다는 점입니다. 일반적인 의상 제작에서는 서 있는 자세(T포즈나 A포즈)에서의 외형을 우선시하는 경향이 있지만, 저희는 의도적으로 그것을 피했습니다. 옷의 처짐과 밑단 길이, 볼륨감에 이르기까지 모든 조정을 철저히 '춤을 추고 있을 때 어떻게 보이는가'에 집중했습니다.목표는 격렬한 댄스 스텝과 큰 동작 중에서 가장 멋지고 아름다운 실루엣을 끌어내는 것이었습니다. "움직이는 상태가 곧 의상의 완성형"이라는 철학은 댄스를 주제로 한 이번 프로젝트에서 어쩌면 필연적인 접근 방식이었죠. 단순히 시뮬레이션 결과를 그대로 받아들이기보다, 댄스의 역동성을 극대화하기 위해 움직임을 확인하며 끊임없이 완벽한 실루엣을 추구했습니다.<hr> 3. 격렬한 움직임(댄스) 제어[Q]: 캐릭터들이 고속 회전이나 점프가 포함된 격렬한 댄스를 선보이는데, 후드나 레이어드 룩처럼 시뮬레이션 난이도가 높은 의상을 입고 있습니다. 이러한 극한의 움직임을 다룰 때 가장 큰 어려움은 무엇이었나요?[A]: 다행히 특별한 주의가 필요한 의상이 아주 많지는 않았지만, 가장 핵심적인 과제는 "캐릭터 디자인에서 너무 벗어나지 않게 하는 것"이었습니다. 구체적으로 예를 들면, 댄스 중에 후드가 머리를 덮을 수는 있지만 그대로 머리에 씌워진 채로 있어서는 안 되며, 셔츠 밑단이 잠시 뒤집힐 수는 있어도 계속 뒤집힌 상태로 멈춰 있어서는 안 됩니다. 격렬한 움직임 이후에 (비록 물리적으로는 정확할지라도) 의상의 형태가 크게 무너지는 것을 방지하기 위해, 핀(pins)과 택(tacks) 기능을 적극적으로 활용했습니다. <img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/49f340b3b0fc4375b59fe47fb5d5b9b93%E6%BF%80%E3%81%97%E3%81%84%E5%8B%95%E3%81%8D%28%E3%83%80%E3%83%B3%E3%82%B9%E3%81%AE%E5%88%B6%E5%BE%A1%291_%E9%83%A8%E6%B4%BB%E7%B4%B9%E4%BB%8B%E3%83%80%E3%83%B3%E3%82%B9%E3%83%91%E3%83%BC%E3%82%AB%E3%83%BC%E3%81%AE%E3%83%95%E3%83%BC%E3%83%89.jpg" alt="49f340b3b0fc4375b59fe47fb5d5b9b9" class="custom-image original-size" data-id="49f340b3b0fc4375b59fe47fb5d5b9b9" data-width="3508" data-height="2480"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/BkFMZfp8RLk" 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>[추가 질문][Q]: 스트릿 댄스에서 옷의 흔들림은 댄서의 개성이 연장된 것이라고도 할 수 있습니다. 캐릭터마다 다른 댄스 스타일을 반영하기 위해 옷감의 물리적 특성(무게, 마찰, 두께 등)을 개별적으로 조정하셨나요? (예: 공격적인 댄서에게는 더 무거운 원단을 설정하고, 유려한 움직임을 가진 댄서에게는 더 가벼운 원단을 설정하는 등)[A]: 저희는 캐릭터 디자인에 부합하는 원단 선택(저지, 스웨트셔츠, 데님 등)을 최우선으로 고려했으며, 움직임의 조절은 주로 패턴을 통해 진행했습니다. 클로스 시뮬레이션의 다양하고 복잡한 파라미터를 일일이 조정하는 것은 시간이 너무 많이 소요되는 경우가 많았기 때문에, 프리셋의 도움을 크게 받았습니다.<hr>4. 주식회사 텐키(Tenju Co., Ltd.)와의 협업[Q]: 이번 프로젝트에서는 디지털 패션 전문 기업인 주식회사 텐키와 협업하여 의상 패턴을 제작했다고 들었습니다. 이러한 파트너십이 마블러스 디자이너 제작 공정을 어떻게 발전시켰나요? 또한, 기존의 CG 에셋 교환 방식과 비교했을 때 스튜디오 간에 '마블러스 디자이너 프로젝트 파일'을 공유함으로써 얻은 독특한 발견이나 워크플로상의 이점은 무엇이었나요?[A]: 사실 마블러스 디자이너를 워크플로에 도입하면서 마주한 가장 큰 장벽은 '재봉(패턴)'이라는 개념 그 자체였습니다. 이전까지는 옷을 전부 모델링 방식으로만 만들어왔기 때문에, 실제 의복 제작이나 패턴에 관한 지식이 필요할 것이라고는 상상도 못 했습니다.<img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/8413b5cfdbf24bafae27b76be35a7ca44%E6%A0%AA%E5%BC%8F%E4%BC%9A%E7%A4%BE%E5%85%B8%E6%A8%B9%E3%81%A8%E3%81%AE%E9%80%A3%E6%90%BA1_%E6%B9%BE%E7%94%B0%E5%88%B6%E6%9C%8D%E3%82%AB%E3%83%BC%E3%83%87%E3%82%A3%E3%82%AC%E3%83%B3_%E6%9C%80%E7%B5%82%E3%83%91%E3%82%BF%E3%83%BC%E3%83%B3.jpg" alt="8413b5cfdbf24bafae27b76be35a7ca4" class="custom-image original-size" data-id="8413b5cfdbf24bafae27b76be35a7ca4" data-width="2564" data-height="1318"> <img src="https://storagefiles.clo-set.com/public/community/202605/62d7c6e20b5f439fade6598fd25b1036/images/a7b99975138f4e74abf1af03b61b7f464%E6%A0%AA%E5%BC%8F%E4%BC%9A%E7%A4%BE%E5%85%B8%E6%A8%B9%E3%81%A8%E3%81%AE%E9%80%A3%E6%90%BA2_%E3%82%AB%E3%83%9C%E3%81%AE%E7%B7%B4%E7%BF%92%E7%9D%80_%E6%9C%80%E7%B5%82%E3%83%91%E3%82%BF%E3%83%BC%E3%83%B3.jpg" alt="a7b99975138f4e74abf1af03b61b7f46" class="custom-image original-size" data-id="a7b99975138f4e74abf1af03b61b7f46" data-width="2564" data-height="1318">저희의 마블러스 디자이너 의상 패턴에 대해서라면 텐키(Tenju) 사를 빼놓고는 이야기할 수 없습니다. 결국 저희는 옷이 말 그대로 어떻게 만들어지는지부터 배워야 하는 단계에서 시작했으니까요. 텐키 사는 애니메이션의 의상 디자인을 바탕으로 저희를 위해 방대한 양의 의상 패턴을 제작해 주었습니다.<hr>5. 애니메이션 표현의 확장과 전망[Q]: 이 워크플로의 성공을 미루어 볼 때, 마블러스 디자이너와 같은 툴이 향후 애니메이션 제작을 어떻게 변화시킬 것이라고 보십니까? (액션 중심의 작품이나 패션에 집중한 애니메이션을 만들고자 하는 창작자들에게 새로운 가능성을 열어줄 것이라고 보시나요?)[A]: 이번 워크플로 경험을 통해, 마블러스 디자이너와 같은 툴이 패션 중심의 작품뿐만 아니라 애니메이션 제작 전반의 가능성을 크게 확장할 것이라 확신하게 되었습니다.특히 사실적인 군중 씬, 대규모 전투, 그리고 격렬한 격투 묘사 등에 있어 제작 부하를 획기적으로 줄이면서도 표현의 질을 높이는 매우 효과적인 수단이 될 것입니다. '툴을 통해 효율화할 수 있는 영역'을 극대화할 수 있다면, 연출이나 작화와 같이 '정말로 에너지를 쏟아야 할(칼로리를 소비해야 할) 공정'에 리소스를 집중할 수 있습니다.또한, 마블러스 디자이너 를 사용하며 놀랐던 점은 고도의 물리 시뮬레이션을 수행함에도 불구하고 조작감이 믿을 수 없을 정도로 가볍고 경쾌했다는 점입니다. 이러한 직관적인 조작감은 끊임없이 시행착오를 거치는 창작자의 상상력을 방해하지 않으며, 결과적으로 표현의 퀄리티를 끌어올리는 원동력이 된다고 느낍니다.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/TZc7DKeVeHk" 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><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/qdd867UPIn8" 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>[추가 질문][Q]: 이번 경험을 바탕으로, 기존 방식과 비교했을 때 '애니메이션 제작에 마블러스 디자이너를 사용하는 가장 큰 장점'은 무엇이라고 생각하시나요?[A]: &lt;완댄스(Wandance)&gt;와 같은 프로젝트에서 그 방대한 양의 댄스 장면과 엄청난 의상 베리에이션을 동시에 소화하는 것은 마블러스 디자이너 없이는 완전히 불가능했을 것입니다. 제작 현장에 미친 영향은 그만큼 엄청났습니다.기존 방식과의 결정적인 차이이자 가장 큰 장점은 "액션이나 패션의 디테일을 타협하지 않고, 순수하게 '보여주고 싶은 비전'에 도전할 수 있다는 점"이라고 생각합니다.이전에는 기술적 제약이나 제작 시간의 한계로 인해 포기해야 했던 표현들을 이제는 마블러스 디자이너를 통해 세상에 내놓을 수 있게 되었습니다. 창작자들이 "진정으로 보여주고 싶은 장면"에 대해 타협하지 않고 밀고 나갈 수 있는 환경을 제공하는 것—그것이야말로 이 툴을 도입한 진정한 가치라고 믿습니다.

패턴 기반 모델링과 클로스 시뮬레이션을 통한 풍부한 댄스 표현의 실현: <완댄스(Wandance)> 속 사이클론 그래픽스의 마블러스 디자이너 활용 사례

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Footwear Collection 2026.0

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Inside the Costa Rican Brand Designing Entire Collections in CLO

accessory

<h2 style="text-align: center">Travis Davids shares a breakdown of how South Parks iconic character, Kenny’s outfit was created, with a big, medium, small approach with the garments.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/e1a6165933bb46c18d0157ad6c77c11ee8da6fea12c74b85bfdef7b7fb81e6c1.png" class="custom-image original-size" data-id="e1a6165933bb46c18d0157ad6c77c11e" data-width="1135" data-height="936"><h1 style="text-align: center">Interview with Travis Davids| South Park | 3D Generalist</h1><hr><h1>1. Artist Introduction</h1>Hello, my name is Travis Davids, I'm from Johannesburg, South Africa and I'm a freelance digital artist and content creator.I primarily focus on creating 3D related content in the form of tutorials or resources for digital artists. My content is available on multiple websites like YouTube, Gumroad and Artstation.I’m a 3D generalist who loves experimenting with multiple workflows.I’ve been doing 3D full time since 2015 but my journey started in 2007 when i created mod items for a video game called The Sims. It sparked my interest to explore an expanding universe of endless possibilities.3D gave me a platform to bring my ideas and emotions to life. It’s something I'm very passionate about and I thoroughly enjoy the endless journey of self improvement.Love what you do and do what you love!<h1>2. Workflow for your artworks with a brief introduction</h1>I used Marvelous Designer to create realistic outfits for all of my reimagined characters for South Park.Reimagining South Park Characters&nbsp;I followed the same approach for every garment. I will do a breakdown of how Kenny’s outfit was created.&nbsp;All of my garments start with the most basic building blocks. I follow a Big, Medium, Small approach with my garments.&nbsp;Big&nbsp; Basic shapes and buildings blocks to create a basic template with a great fit.&nbsp;Medium&nbsp; Detailing the garment, adding new elements to the design.Small&nbsp; Adding smaller details like internal lines for topstitching, seams, buttons, and layer clones as well as reducing the particle distance to 5 or 3.Detailing the garment further in Zbrush and bringing it to completion is also included during this phase.&nbsp;Creating The Base (BIG)I focus primarily on creating a garment with a good base.Once you have a good base created that fits your avatar correctly, you can transform that basic template into a variety of different garments.In this case, I had a long sleeve t-shirt I created that fit Kenny perfectly and I tweaked it to turn it into a jacket.This saved me some time from having to create the base garment from scratch.&nbsp;I use Daz Studio to generate my human characters. They are fully rigged and easy to pose.&nbsp;I always create my garments on a character that is in a T-Pose or A-Pose.It makes your life a lot easier to create the patterns and drape a garment on a symmetrical pose.Later on once you’re detailing the garment further you can transition to a different pose.I also keep my particle distance on 20 or 15 during the early stages for the sake of performance.I’ll also use GPU simulation in certain instances to see my simulation results in what can only be described as real time and then go back to normal simulation mode for accurate results.<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/86da97e0bfb243c29a3cd56dd6e7f2d13f4a510bfd90475c952333479055757a.png" class="custom-image medium-size" data-id="86da97e0bfb243c29a3cd56dd6e7f2d1" data-width="1567" data-height="995">QUICK TIP: When you are creating your basic shapes, don’t add curvature to the pattern while you’re drafting it, add this afterwards by using the “Edit Curvature” tool.You will thank yourself later because by adding curvature afterwards, if you go to “Edit Pattern” you will have access to anchor points that you can adjust to control the amount of curvature.This makes the process of adjusting curvature non destructive and easy to change.&nbsp;Transitioning To A Different Pose<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/f14a43b058594ff9a94d951d20405100cfb72430c3f14fb1a395b0030f6c3fb9.jpg" class="custom-image original-size" data-id="f14a43b058594ff9a94d951d20405100" data-width="1516" data-height="995">Once I have a good base I'll actually use morph targets to see how my garment looks in a different pose.Since I’m&nbsp;using morph targets i can easily go back to the a-pose if I need to further adjust my garment.&nbsp;QUICK TIP: There are various ways to transition to different poses but an easy method is to use morph targets.If you saved out two obj’s of your character (a-pose and posed), import the a-pose first and drape your garment on the a-pose.Now go to “File” “Import OBJ” and instead of importing an OBJ as an avatar, import it as a morph target so change “Object Type” to Morph Target.Your character will transition from the a-pose to the next pose.&nbsp;Detailing The Garment Further (MEDIUM)During this phase I decrease my particle distance to 10 just to see a better representation of my fabric.Since the garment is going to be getting more detailed I might lose some performance but i can always go back to 15.The majority of my time is spent on this process by creating new garment pieces like the hood, adjusting fabric settings, choosing different fabric colors,adding render thickness to the garment to get a much better idea of what the garment looks like with thickness and changing it to “Thick Textured Surface” to see the end result.I always add thickness in Marvelous Designer even if i plan on exporting a thin version of the garment.If I'm going to add thickness in zbrush, I can just reference the thickness I created in MD.Garments are usually not paper thin and by adding just a subtle layer of thickness, it gives the garment a much better visual representation.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/b38163beadd44cdb826cef12f0fc8a1f37296d5c5c314d63b85244254e20b19a.png" class="custom-image original-size" data-id="b38163beadd44cdb826cef12f0fc8a1f" data-width="1569" data-height="993">QUICK TIP: Use Marvelous Designer 10’s brand new “Quality Render” feature to see what a garment looks like with ambient occluded shadows.It gives you a much better representation of what the garment would look like if I was actually rendered. Folds and wrinkles look so much better with this enabled.&nbsp;Adding The Finer Details (SMALL)Now it’s all about the small details. Since I was creating a jacket and I wanted it to visually look warmer, I created a layer clone of the garment.A layer clone doubles up your fabric and is a fantastic method to make garments look thicker/warmer.Any internal lines that you have included on your pattern will be a lot more visible on a layer clone.It’s almost like adding the icing on top of a cake and works very well if you’re creating jackets.Keep in mind that sometimes you might need to change the layer order of a layer clone to prevent it from causing simulation issues,and then bring it back to its original number to make everything simulate correctly.I add internal lines along the seams of the garment and adjust the fold angle to make them more predominant.&nbsp;Once i’m happy, i’ll reduce my particle distance to 5 or 3 to get the best quality possible.I’ll also quandragulate my garment in MD if i plan on taking it over to zbrush for additional sculpting. I’ll also arrange my UV’s in MD’s UV Editor so everything is nice and organized.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/39fa1144851d44f68d701b0ad64ee2bdc8344b97d4dc41f0b4a43d89b369c398.png" class="custom-image original-size" data-id="39fa1144851d44f68d701b0ad64ee2bd" data-width="1935" data-height="1001">Since I didn't intend on adding thickness in another program to this garment,I could select my entire pattern for different garment pieces, go to “File” “Export OBJ Selected” and export my garment as “Multiple Objects", "Thick”,and I make sure “Unified UV Coordinates” is selected.&nbsp;I also put my scale on “cm (Daz Studio) and my % at 100% and then click on ok.&nbsp;QUICK TIP:&nbsp; If you’ve created a garment with multiple pieces like a t-shirt, jacket and pants, export these pieces individually instead as one garment.It keeps everything organized to have these garments separated as their own OBJ’s.&nbsp; Assembling The Scene&nbsp;For Kenny’s outfit I only did a little bit of detailing in Zbrush by sculpting additional folds but Marvelous Designer did all of the heavy lifting.I assemble my scenes in Cinema 4D and create all of my materials with Octane Render.With certain garments I'll also do my texturing in Substance Painter or create my own tileable materials from scratch with Substance Designer.The scene is basic with only 2 area lights. I also used the power of artificial intelligence from Artbreeder to generate a realistic human face for Kenny.If you want to see my entire workflow I have uploaded a breakdown video on youtube via <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/AClov4mK-PU">this link.</a><img src="https://storagefiles.clo-set.com/public/community/202501/0e13aa14ba6647138b84c7e5932bf5df/images/51186b64295945ed8e3f18d5fe9c4977b7e4c2afc23046e6968609a67a1b7ee4.jpg" class="custom-image original-size" data-id="51186b64295945ed8e3f18d5fe9c4977" data-width="1497" data-height="2142">by Travis DavidsLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/c/TravisDavids/videos">Youtube</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/mrdavids">Artstation&nbsp;</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/travis.davids/">Facebook</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/mrdavids2/">Instagram&nbsp;</a>

South Park

<hr>Black Tactical Cargo Jogger — a bold, structured silhouette with precision contrast stitching and premium textured fabric. Functional cargo pockets and modular side straps merge urban edge with elevated performance, crafted for a sharp, contemporary statement.<hr><hr><h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202602/b6c3ab67186e44ae90c157ceb935c921/images/6d83cf6f54d44e2fb6d5502a70ca5b595.png" alt="6d83cf6f54d44e2fb6d5502a70ca5b59" class="custom-image large-size" data-id="6d83cf6f54d44e2fb6d5502a70ca5b59" data-width="1024" data-height="1536"></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202602/b6c3ab67186e44ae90c157ceb935c921/images/2b39c51101a243819782467967945a5ebae609c7-3d8a-44ad-9e5f-dd0664b28650.png" alt="2b39c51101a243819782467967945a5e" class="custom-image large-size" data-id="2b39c51101a243819782467967945a5e" data-width="1024" data-height="1536"><hr><img src="https://storagefiles.clo-set.com/public/community/202602/b6c3ab67186e44ae90c157ceb935c921/images/b4620e9fe0fa42a8bacc15a97ac346033.png" alt="b4620e9fe0fa42a8bacc15a97ac34603" class="custom-image large-size" data-id="b4620e9fe0fa42a8bacc15a97ac34603" data-width="572" data-height="1024"><hr><hr><img src="https://storagefiles.clo-set.com/public/community/202602/b6c3ab67186e44ae90c157ceb935c921/images/3a76a1f539b040d29d13cf1151d9607b4.png" alt="3a76a1f539b040d29d13cf1151d9607b" class="custom-image original-size" data-id="3a76a1f539b040d29d13cf1151d9607b" data-width="1024" data-height="1536"><img src="https://storagefiles.clo-set.com/public/community/202602/b6c3ab67186e44ae90c157ceb935c921/images/931d6228f8b443ec9a36a585da490ee58dc5c226-352e-41f7-bbf4-7639d84045ae.png" alt="931d6228f8b443ec9a36a585da490ee5" class="custom-image large-size" data-id="931d6228f8b443ec9a36a585da490ee5" data-width="1536" data-height="1024"><hr>email : <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:zahrakarimzadeh.zk@gmail.com">zahrakarimzadeh.zk@gmail.com</a><img src="https://storagefiles.clo-set.com/public/community/202602/b6c3ab67186e44ae90c157ceb935c921/images/bf0eae5907574e0089166879441700d7IMG_0526.jpeg" alt="bf0eae5907574e0089166879441700d7" class="custom-image original-size" data-id="bf0eae5907574e0089166879441700d7" data-width="853" data-height="1280">

cargo_pants

Accessory

Male

Avatars

Collection A

<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/6LDRQ4OR73g" 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><h2 style="text-align: center">How do you paint history into a futuristic language? In his solo project Paradise Lost, concept designer Eyelashes did just that. Powered by Marvelous Designer for seamless costume creation, his retro-sci-fi universe is both haunting and beautiful.</h2><h2 style="text-align: center">Let's dive in.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/76f6ae0e3a92486880008e8cfe4d8574%E8%B4%B5%E6%97%8F%E6%BC%94%E5%87%BA%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1%E5%B1%95%E7%A4%BA.png" alt="76f6ae0e3a92486880008e8cfe4d8574" class="custom-image original-size" data-id="76f6ae0e3a92486880008e8cfe4d8574" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/c7d0c3359a60488ca5452025ebd38e4emd%E5%88%B6%E4%BD%9C%E7%9A%84%E5%9C%BA%E6%99%AF%E5%B8%83%E6%96%99%E7%AA%97%E5%B8%98.png" alt="c7d0c3359a60488ca5452025ebd38e4e" class="custom-image original-size" data-id="c7d0c3359a60488ca5452025ebd38e4e" data-width="3339" data-height="1440"><h1>Welcome to the Marvelous Designer User Spotlight! Could you briefly introduce yourself and share the main focus of your current creative work?</h1>Hello everyone! I'm a freelance concept designer from China, and you can call me Eyelashes. My daily work mainly consists of freelance concept design outsourcing, and in my spare time, I create my own personal IPs. Currently, my personal work relies heavily on a 3D workflow, as I believe it better showcases my designs and ideas. I am mainly focusing on sci-fi world-building, and I hope to develop a highly distinct and complete personal style in the future.<h1>The world-building in Paradise Lost is incredibly fleshed out: retro-futurism, old nobility, a forbidden city beneath a manor, desire, and decay. Where did this concept initially begin?</h1>The ideation for this concept was quite interesting. The earliest inspiration came from watching films like Eyes Wide Shut, The Holy Mountain, and 2001: A Space Odyssey, which sparked my interest in retro sci-fi. The hidden desires behind the masks in Eyes Wide Shut, the frantic yet sacred ritualism in The Holy Mountain, and the silent sci-fi thriller vibes of 2001: A Space Odyssey—I felt certain tones from these films perfectly aligned with the theme I wanted to explore.So, I combined them with my own ideas to express this universe: In an alternate retro-futuristic world, the old nobility indulges in their final glory. Sin and desire are poured beneath the manor, constructing a forbidden city built solely for their own pleasure, codenamed "Paradise Lost." The world is suspended in the rift between the past and the future; the old nobility has long decayed, addicted to insatiable greed and hedonism.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ae2efdb74116463aa7a2ee8d5fdc992ahongbin_scene3_optimized.png" alt="ae2efdb74116463aa7a2ee8d5fdc992a" class="custom-image original-size" data-id="ae2efdb74116463aa7a2ee8d5fdc992a" data-width="3339" data-height="2002"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/605b58b9ba634f639a497d0031913bc8%E7%BB%98%E7%94%BB%E8%8D%89%E5%9B%BE%20.png" alt="605b58b9ba634f639a497d0031913bc8" class="custom-image original-size" data-id="605b58b9ba634f639a497d0031913bc8" data-width="3218" data-height="1685"><h1>Your work captures both the opulence of the old nobility and the stark, cold aesthetic of futurism. How did you establish this visual language?</h1>I browsed through a massive amount of color archives of the French royal family—not just looking for patterns, but curious about how power narrates itself through color. The gold of Versailles is a monopoly on light, and royal blue is a metaphor woven into the fabric. My goal was to translate this historical grammar into a futuristic language.In addition to the blue feudal attire of the old nobility, I wanted to incorporate retro technology from the last century to express the future. Also, to facilitate the future expansion of this universe, I deliberately condensed the visual language into a replicable design formula: Old Nobility Royal Symbols × Retro Technology × Constructivism.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/d8555b953bec4ee0bcd30aa5ea5d8219%E5%A5%B3%E4%BB%86%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="d8555b953bec4ee0bcd30aa5ea5d8219" class="custom-image original-size" data-id="d8555b953bec4ee0bcd30aa5ea5d8219" data-width="2000" data-height="1862"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/581dbef7357e4b84bc21486751665773%E5%85%AC%E7%88%B5%E5%92%8C%E8%B4%B5%E6%97%8F%E4%B9%8B%E5%A5%B3%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="581dbef7357e4b84bc21486751665773" class="custom-image original-size" data-id="581dbef7357e4b84bc21486751665773" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d62fdd9ed644d9bb2b2ccdaa1749fe9%E9%93%81%E5%BA%8F%E4%B9%8B%E7%8E%8B%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="5d62fdd9ed644d9bb2b2ccdaa1749fe9" class="custom-image original-size" data-id="5d62fdd9ed644d9bb2b2ccdaa1749fe9" data-width="2560" data-height="3265"><h1>The costumes in this series convey a strong sense of identity, such as the old nobility, the duchess, and aristocratic descendants. What did you want to convey the most when designing their silhouettes, materials, and colors?</h1>When designing the silhouettes, my initial thought was to express the character's costume design using minimalist outlines. Aside from the original intention of making the characters more recognizable, this also served the theme of the world: making the design of the old nobility not just "old," but seamlessly blending it with the "newness" of modern high fashion and runway art. This conveys the idea of a world stuck between the past and the future, satirizing the false prosperity of the capitalist economy within this universe.For the materials of the old nobility, I chose the aristocratic texture of silk combined with delicate futuristic fabrics, accented with gold threads. Blue represents the exclusive color of royalty, yellow symbolizes sun worship, and silver highlights merge with aristocratic technology. In this futuristic setting, the old nobility no longer needs intricate crests to declare their identity; they only need to "reduce" themselves to colors and shapes. When the opulence of an entire era is compressed into a pure, flat surface, that simplicity itself becomes the heaviest oppression.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/85e050ea10f6460588b87b9ad25a937d%E8%A5%BF%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="85e050ea10f6460588b87b9ad25a937d" class="custom-image original-size" data-id="85e050ea10f6460588b87b9ad25a937d" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ddb62c588f5a4b3ea5ae42ddb446f464%E8%B4%B5%E6%97%8F%E7%A6%81%E5%8D%AB%E5%86%9B%E4%BD%BF%E7%94%A8md%E7%BB%93%E5%90%88zb%E9%9B%95%E5%88%BB%E7%9A%84%E6%96%B9%E5%BC%8F%E8%AE%BE%E8%AE%A1.png" alt="ddb62c588f5a4b3ea5ae42ddb446f464" class="custom-image original-size" data-id="ddb62c588f5a4b3ea5ae42ddb446f464" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/82d735f3565d43099792f9da4c82a845%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="82d735f3565d43099792f9da4c82a845" class="custom-image original-size" data-id="82d735f3565d43099792f9da4c82a845" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d2391f0607448fb93426b1b5f935bc4%E8%A7%92%E8%89%B2%E5%B8%83%E6%96%99%E6%9D%90%E8%B4%A8.png" alt="5d2391f0607448fb93426b1b5f935bc4" class="custom-image original-size" data-id="5d2391f0607448fb93426b1b5f935bc4" data-width="3339" data-height="1440"><h1>You used Marvelous Designer for this project. What parts of the production was it mainly involved in? How did it help your design regarding garments, drapes, or fabric structures?</h1>It was primarily used for the large-scale fabric simulations in my scenes and the characters' costume designs. Marvelous Designer allowed me to significantly increase my efficiency in the design phase.Because the software is intuitive and easy to use, it saved me a lot of production time. I didn't have to spend a massive amount of time and effort figuring out the software itself, which gave me the freedom to focus entirely on my designs.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/b74f6b59f18c45f68172f31e12f9b4d0md%E6%88%AA%E5%9B%BE%E5%A5%B3%E4%BB%86.png" alt="b74f6b59f18c45f68172f31e12f9b4d0" class="custom-image original-size" data-id="b74f6b59f18c45f68172f31e12f9b4d0" data-width="3699" data-height="2012"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/3a315b2612ba420aab85be4983ff9307md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E.png" alt="3a315b2612ba420aab85be4983ff9307" class="custom-image original-size" data-id="3a315b2612ba420aab85be4983ff9307" data-width="3733" data-height="2038"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/2aea1d376eb843619515bf98658cd216md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E5%A5%B3%E5%84%BF.png" alt="2aea1d376eb843619515bf98658cd216" class="custom-image original-size" data-id="2aea1d376eb843619515bf98658cd216" data-width="3583" data-height="2016"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/e3afe5cecbbe448bac1993c4f6fa1df4md%E6%88%AA%E5%9B%BE%20%E6%97%A7%E5%85%AC%E7%88%B5.png" alt="e3afe5cecbbe448bac1993c4f6fa1df4" class="custom-image original-size" data-id="e3afe5cecbbe448bac1993c4f6fa1df4" data-width="3555" data-height="1944"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/58a33b61871444cdae22c0aef81a20e5md%E6%88%AA%E5%9B%BE%20%E5%85%94%E5%AD%90%E8%B4%A2%E9%98%80%E8%A5%BF%E8%A3%85.png" alt="58a33b61871444cdae22c0aef81a20e5" class="custom-image original-size" data-id="58a33b61871444cdae22c0aef81a20e5" data-width="3677" data-height="2028"><h1>You utilized Blender, ZBrush, Plasticity, and Marvelous Designer simultaneously. Could you share your overall production workflow for this series, from concept to final render?</h1>For my current workflow, after gathering references and materials, I sketch out some design drafts in Photoshop. Then, to implement and validate the design, I use Blender as my main platform for modeling and rendering. I model simple objects and character assets directly in Blender, while ZBrush handles complex creatures and character sculpting. Plasticity is mainly used for the hard-surface designs in my work, and Marvelous Designer takes care of the character costumes and fabrics.Sometimes, I import garments made in MD into ZBrush for further sculpting. Once the external assets are ready, I usually import them back into Blender for integration, adjustments, material application, and final rendering. If I have enough time, I usually render my personal artworks straight out of 3D without much post-processing.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/d7_jPBtwwN8" 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>Looking back at the Paradise Lost project, what was the most challenging part?</h1>For me, this project had two main challenges at the time:<ol><li>Balancing work and rest. It’s very difficult to maintain a high intensity of creation during your downtime.</li><li>Combining elements like minimalism, geometric composition, and retro-futuristic technology to express my desired theme was quite tricky. If not done well, it could easily turn into a homogenized piece. Therefore, I had to spend a lot of time making choices and trade-offs.</li></ol><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/9d04c38bdcbd43299967ffed0d296b5chereyelashes-%20%281%29.jpg" alt="9d04c38bdcbd43299967ffed0d296b5c" class="custom-image original-size" data-id="9d04c38bdcbd43299967ffed0d296b5c" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/4f0990dafde64f7eb754210353c24753hereyelashes-.webp" alt="4f0990dafde64f7eb754210353c24753" class="custom-image original-size" data-id="4f0990dafde64f7eb754210353c24753" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/7d80bc79557447e9bac49460fdacb2e4hereyelashes-.jpg" alt="7d80bc79557447e9bac49460fdacb2e4" class="custom-image original-size" data-id="7d80bc79557447e9bac49460fdacb2e4" data-width="1920" data-height="1066"><h1>What advice do you have for artists looking to integrate Marvelous Designer into their concept design or character costume design pipelines?</h1>As for advice on integrating Marvelous Designer into concept design: I think MD is incredibly helpful in the design pipeline! However, you must carefully plan the proportion of time spent on design versus technical execution. You shouldn't treat yourself as a full-fledged 3D modeler and spend too much time studying professional pattern making. You must spend the majority of your time on the design itself—as long as it looks visually plausible and convincing to the audience, that’s enough.For character-focused designers, you can push your understanding of costume design a bit further; for example, if a character isn't suited for a loose-fitting silhouette, the garment design needs to be more tailored to them. If the character is just serving as a simple asset for an environment, the garment design should be kept minimal and the polygon count optimized, allowing MD to boost the overall efficiency of completing the artwork.<img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/dc3ce6a3750f4b5d9db78bd051b20226hereyelashes-916612f54c307f4d8c86cf80864ce377-ezgif.com-webp-to-png-converter.png" alt="dc3ce6a3750f4b5d9db78bd051b20226" class="custom-image original-size" data-id="dc3ce6a3750f4b5d9db78bd051b20226" data-width="1485" data-height="837"><hr><h2 style="text-align: center">Paradise Lost is not a project that relies on visual opulence alone. Its coldness, order, oppression, and desire are all compressed into color, shape, material, and the silhouettes of garments.</h2><h2 style="text-align: center">Marvelous Designer, in this context, is more than just a tool for “making clothes.” For Eyelashes, it becomes part of the concept design pipeline: helping ideas take shape faster, making fabrics feel more convincing, and allowing the artist to spend more time on the decisions and trade-offs that truly matter.</h2><hr><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgA32g">Arstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shihonbin/">Instagram</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5fb7a7bf000000000101e3f8?xsec_token=ABxGsiB2biAUHDLvPHmjFmGAeH-LBYextJpB1V4x4sgAI=&amp;xsec_source=pc_search">RedNote</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/293838165">Bilibili</a>

Concept Designer Eyelashes: Building the Retro-Sci-Fi World of "Paradise Lost"

coat

Checkered top and skirt set

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패턴 기반 모델링과 클로스 시뮬레이션을 통한 풍부한 댄스 표현의 실현: <완댄스(Wandance)> 속 사이클론 그래픽스의 마블러스 디자이너 활용 사례

Marvelous Designer Official

Marvelous Designer Official