<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Meet </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/fiwer"><span style="font-family: &quot;Times new roman&quot;"><strong><em>Dinar Sirazetdinov</em></strong></span></a><span style="font-family: &quot;Times new roman&quot;"><em>, a talented 3D Character Artist who bridges the gap between digital tailoring and character storytelling. We dive into the creation of Agnes, a striking character from the horror game "Shatterlight".</em></span></h2><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/W2J6V0_xtbc?si=GXZ0pzvBB4L1VWbp" 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 style="text-align: left"><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/6b2981a23b274228a0732defa27c61a1%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B710.jpg" alt="6b2981a23b274228a0732defa27c61a1" class="custom-image original-size" data-id="6b2981a23b274228a0732defa27c61a1" data-width="647" data-height="1156"></h1><h1 style="text-align: left"><strong>Artist Introduction</strong></h1><p>Hello! My name is Dinar Sirazetdinov, and I am a 3D Character Artist specializing in creating characters for games and cinematics.</p><p>The main focus of my work is character modeling and texturing, with a strong emphasis on realistic clothing and materials. In my projects, I actively use Marvelous Designer to create complex fabric shapes, and the final integration is done in other 3D software packages.</p><p></p><h1><strong>How did you use Marvelous Designer in the artwork?&nbsp;</strong></h1><p>Before starting the clothing creation, I exported the basemesh from ZBrush and checked its scale and proportions in Maya. After making sure the basemesh had correct dimensions, I imported it into Marvelous Designer.</p><p>In Marvelous Designer, I began by creating basic 2D patterns for each clothing layer while simultaneously running fabric simulations in the 3D window to achieve proper fitting on the character.<br>After finishing the main dress base, I moved on to adding the corset, lace elements, and additional visual details.</p><p><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/8d9b3b0d57b0407483f230cb744ddc67%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B71.jpg" alt="8d9b3b0d57b0407483f230cb744ddc67" class="custom-image original-size" data-id="8d9b3b0d57b0407483f230cb744ddc67" data-width="882" data-height="656"><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/52de6883dc2342b68d5919c3072d7c0f%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B72.jpg" alt="52de6883dc2342b68d5919c3072d7c0f" class="custom-image original-size" data-id="52de6883dc2342b68d5919c3072d7c0f" data-width="894" data-height="664"></p><p>Then I adjusted the fabric physical properties such as density, stretch, and stiffness to achieve the desired visual effect.</p><p><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/eb5d7ed2ac7447f99661edeab8959d3c%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B73.jpg" alt="eb5d7ed2ac7447f99661edeab8959d3c" class="custom-image original-size" data-id="eb5d7ed2ac7447f99661edeab8959d3c" data-width="896" data-height="682"></p><p>Once the final shape was completed, the clothing was exported to ZBrush and Maya for further refinement and optimization for real-time use.</p><p>Marvelous Designer allowed me to quickly achieve realistic folds and natural fabric behavior, which significantly accelerated the workflow.</p><p><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/df19071baf024e7986b5c7228061c8db%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B74.jpg" alt="df19071baf024e7986b5c7228061c8db" class="custom-image original-size" data-id="df19071baf024e7986b5c7228061c8db" data-width="894" data-height="606"></p><p>For the final presentation, I used Unreal Engine 5 with additional image post-processing in Photoshop.<img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/41f3fd77c7f24ab0bf6f8189d4cd1104%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B75.jpg" alt="41f3fd77c7f24ab0bf6f8189d4cd1104" class="custom-image original-size" data-id="41f3fd77c7f24ab0bf6f8189d4cd1104" data-width="916" data-height="516"><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/92b9826515114f22ac5e2559b1f43866%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B77.jpg" alt="92b9826515114f22ac5e2559b1f43866" class="custom-image original-size" data-id="92b9826515114f22ac5e2559b1f43866" data-width="905" data-height="327"></p><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/1167408910?#t=0" frameborder="0" allowfullscreen="" width="800" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1><strong>Why did you decide to use Marvelous Designer? How did it help you serve art direction?&nbsp;</strong></h1><p>I chose Marvelous Designer as my main tool for creating realistic character clothing.</p><p>Previously, I mostly worked with stylized characters and created folds manually in ZBrush. However, when I started working on realistic characters, I began researching realistic cloth workflows and came across tutorial videos about Marvelous Designer on YouTube, which inspired me to start learning and using this software.</p><p>Unlike traditional modeling techniques, cloth simulation in MD allows for fast creation of natural folds and volume. This significantly improves visual quality and helps better match the project’s art direction.</p><p>I have been using Marvelous Designer for approximately 2 years in both professional and personal projects.</p><p><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/aa0552f3d872419492e9814a7a1e1624dinar-sirazetdinov-props-01.webp" alt="aa0552f3d872419492e9814a7a1e1624" class="custom-image original-size" data-id="aa0552f3d872419492e9814a7a1e1624" data-width="1920" data-height="700"><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/68dfee70f5ff4e3589efa17f19d5615ddinar-sirazetdinov-props-02.webp" alt="68dfee70f5ff4e3589efa17f19d5615d" class="custom-image original-size" data-id="68dfee70f5ff4e3589efa17f19d5615d" data-width="1920" data-height="700"><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/31f2a26a12c94ab7b63ca857b80c589bdinar-sirazetdinov-render-agnes-uv.webp" alt="31f2a26a12c94ab7b63ca857b80c589b" class="custom-image original-size" data-id="31f2a26a12c94ab7b63ca857b80c589b" data-width="1920" data-height="1080"></p><h1><strong>Can you give us a quick overview of the different tools used in your pipeline?</strong></h1><p>My typical pipeline includes:</p><p>Zbrush - sculpting the character base and further refinement<br>Marvelous Designer - clothing creation<br>Maya - modeling, retopology, and UV mapping<br>Marmoset Toolbag - texture baking<br>Substance Painter - texturing<br>Unreal Engine - final rendering and presentation<br>Photoshop - image post-processing</p><p></p><h1><strong>Do you have any other projects that you have worked on using Marvelous Designer that you can share with us?</strong></h1><p>In addition to the current project, I have used Marvelous Designer in several other works, including cinematic characters and game scenes.</p><p>One of these projects was a Steampunk girl character. In this project, MD helped create various clothing and accessory elements such as velvet pants, a t-shirt, shoes, leather belts, a holster, and other fabric-based details with a high level of realism.</p><p><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/00e66bb3e88146568180d5b752b8173c%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B79.jpg" alt="00e66bb3e88146568180d5b752b8173c" class="custom-image original-size" data-id="00e66bb3e88146568180d5b752b8173c" data-width="901" data-height="902"><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/2fc908d4f2934c19a58a29b0a032116f%E1%84%80%E1%85%B3%E1%84%85%E1%85%B5%E1%86%B78.jpg" alt="2fc908d4f2934c19a58a29b0a032116f" class="custom-image original-size" data-id="2fc908d4f2934c19a58a29b0a032116f" data-width="901" data-height="329"></p><h1><strong>Are there any tips and tricks with Marvelous Designer that you can share with the community?</strong></h1><p>Here are a few techniques that greatly improved my workflow in Marvelous Designer:</p><ul><li><p>Start with simple base patterns before adding complex details</p></li><li><p>Zoom out in the 3D window to evaluate the overall silhouette and shapes. Even if it is not the final version, the base should read clearly</p></li><li><p>Work with low mesh resolution during early simulations to form large folds, then increase the resolution for final refinement. At the end, you can apply the default fabric preset to all patterns and let the simulation run for a few seconds to slightly smooth the folds</p></li><li><p>Always adjust fabric physical properties based on the material type to achieve realistic results. These values can be slightly exaggerated for better visual impact</p></li></ul><p>Wishing you creative success and great pattern making. Thank you for your attention!</p><p><img src="https://storagefiles.clo-set.com/public/community/202602/895bb10f143b4b9ab5d596907e1251fe/images/9337b1f5a5aa42fbba4a01ced691570adinar-sirazetdinov-render-agnes-levelseq-04.webp" alt="9337b1f5a5aa42fbba4a01ced691570a" class="custom-image original-size" data-id="9337b1f5a5aa42fbba4a01ced691570a" data-width="1920" data-height="1080"></p>

Agnes | Shatterlight

Indian Anarkali

Indian Kurti and Pants

saree

malikhunain99999

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

<p style="text-align: center"></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/5gQmEP9o0Jg?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p style="text-align: left">What an exciting August it has been for us! But before the memories settle, we are delighted to share a quick recap of our presence in Los Angeles in early August.&nbsp;</p><hr><p></p><h1 style="text-align: center"><strong>SIGGRAPH 2023 EXHIBITION (August 8th-10th 2023)<br></strong></h1><p style="text-align: left">For the very first time, Marvelous Designer x CLO, as a unified entity within CLO Virtual Fashion, jointly hosted a booth, where we successfully introduced our *eCLOsystem, encompassing all of our software and platforms. We had the privilege of engaging with numerous industry leaders, artists and students during the conference.<br></p><p style="text-align: left"><em>*</em><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.clovirtualfashion.com/"><strong><em>CLO VIRTUAL FASHION’</em></strong></a><em>S&nbsp;eCLOsystem</em></p><p style="text-align: left"><em>By touching each and every step of the journey of a garment, we envision our technology and solutions to create a new ecosystem to bring countless benefits to the industry. Building efficient and sustainable workflow, reducing production time and cost, enabling higher accuracy and quality, we believe our solutions are leading the innovation to bring the world where every real garment is tagged to a virtual garment, and vice versa.</em></p><h1 style="text-align: left"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/8478a1b3dcf74aaab334ddaf0531c9aa2023-08-08_SIGGRAPH_SC_183602.jpg" alt="8478a1b3dcf74aaab334ddaf0531c9aa" class="custom-image original-size" data-id="8478a1b3dcf74aaab334ddaf0531c9aa" data-width="3600" data-height="2400"><strong>MARVELOUS DESIGNER &amp; CLO - A GREAT SYNERGY!&nbsp;</strong></h1><p style="text-align: left">Undoubtedly, the most thrilling aspect for us revolved around our engagement with the Marvelous Designer community. We listened to their experiences and shared insights about our upcoming updates that can help enhance workflows. Beyond conventional demonstrations centered on costumes, we also introduced the expansive scope of Marvelous Designer's potential, which encompassed the creation of various items such as bat wings, seaweed, and koi fish.&nbsp;</p><p style="text-align: left">Furthermore, it's important not to overlook the significant advantage of having two distinct demo stations – one exclusively for Marvelous Designer and the other for CLO. This configuration fostered a remarkable synergy that allowed us to mutually enhance each other's areas of expertise. Marvelous Designer adeptly addressed inquiries within the game, animation, VFX, media entertainment sector, while CLO diligently focused on the fashion and manufacturing industry. The joyful expressions witnessed at the demo stations were a proof to the meaningful conversations in which everyone participated wholeheartedly.<br></p><p style="text-align: left"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/a033d546ab9c44fc87d2a685b8bccadb2023-08-08_SIGGRAPH_SC_184101.jpg" alt="a033d546ab9c44fc87d2a685b8bccadb" class="custom-image original-size" data-id="a033d546ab9c44fc87d2a685b8bccadb" data-width="3600" data-height="2400"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/8852d8be3ee04572af9e10fc6149099f2023-08-08_SIGGRAPH_SC_183643.jpg" alt="8852d8be3ee04572af9e10fc6149099f" class="custom-image original-size" data-id="8852d8be3ee04572af9e10fc6149099f" data-width="3600" data-height="2400"></p><hr><h1 style="text-align: left"><strong>2ND DAY OF SIGGRAPH: OUR MEET-UP EVENT! (August 9th 2023)</strong></h1><p style="text-align: left"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/0d01aeea07194f4591e257bf833ad575e55df8830da84fd49444660da465b29d.png" alt="0d01aeea07194f4591e257bf833ad575" class="custom-image original-size" data-id="0d01aeea07194f4591e257bf833ad575" data-width="1400" data-height="800"></p><h1 style="text-align: left"><strong>HOW WE MADE MARVELOUS NIGHT TOGETHER!</strong></h1><p style="text-align: left">We are thrilled to share the success of our networking event held during SIGGRAPH week. Heartfelt gratitude is extended to all those who joined us for the event at the nearby Nixo Patio Lounge at the E-Central Hotel. As part of the programming for the evening, we curated two engaging sessions; Miguel Ortega and Tran Ma, filmmakers at <a target="_blank" rel="noopener noreferrer nofollow" href="https://linktr.ee/halfmt"><strong>Half M.T Studios</strong></a>, presented their award-winning short film, "<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=_FOw3DpcB18"><strong>The Voice in the Hollow</strong></a>," which won the Jury Award at this year’s SIGGRAPH. In addition, Bryan Kim, Product Manager for Marvelous Designer, took the stage to unveil the exciting development roadmap for the upcoming year and beyond.&nbsp;</p><p style="text-align: left"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/31a695a6c072469b86aef34f6d5d178d2023-08-09_Reception_SC_184449.jpg" alt="31a695a6c072469b86aef34f6d5d178d" class="custom-image original-size" data-id="31a695a6c072469b86aef34f6d5d178d" data-width="3600" data-height="2400"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/98c9f301516940deb1a8b85219e229d22023-08-09_Reception_SC_184626.jpg" alt="98c9f301516940deb1a8b85219e229d2" class="custom-image original-size" data-id="98c9f301516940deb1a8b85219e229d2" data-width="3600" data-height="2400"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/43f5dbfcaa3549f3b30ced128d476fc62023-08-09_Reception_SC_184769.jpg" alt="43f5dbfcaa3549f3b30ced128d476fc6" class="custom-image original-size" data-id="43f5dbfcaa3549f3b30ced128d476fc6" data-width="3600" data-height="2400"><img src="https://storagefiles.clo-set.com/public/community/202510/e9f115628645436a809e29971069a4d9/images/ec5462ba9bc14551b2002e05f37de29a2023-08-09_Reception_SC_184835.jpg" alt="ec5462ba9bc14551b2002e05f37de29a" class="custom-image original-size" data-id="ec5462ba9bc14551b2002e05f37de29a" data-width="3600" data-height="2400"></p><p style="text-align: left">Connecting in person with our vibrant user community was a true privilege, leading to insightful conversations and invaluable feedback as well. In addition to our enriching interactions at SIGGRAPH, the meet-up event added an extra layer of engagement with our stakeholders.</p><p style="text-align: left">We're also delighted that our message about Marvelous Designer's role in unlocking creative potential resonated. A special applause goes to the team at Half M.T Studios for their captivating presentation providing an exclusive peek behind-the-scenes utilization of Marvelous Designer.</p><p style="text-align: left">In summary, SIGGRAPH 2023 and our meet-up event left us with an entirely positive experience. We felt all your support and gained insights into how we can enhance your experience further! We eagerly anticipate our next MARVELOUS gathering, as we continue to share our messages with you!</p>

RECAP: SIGGRAPH 2023 + MEET-UP EVENT in LA

COLLECTION A

CollectionHMS

<p><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"><span>Hola comunidad CLO,</span></p><p>Me llamo Cecilia Renau y llevo meses viviendo dentro de CLO3D. <strong>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.</strong></p><p>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 <strong>DAZ Studio</strong>, entornos en <strong>Blender</strong>, tejidos desarrollados en <strong>Substance Sampler</strong> y, en el centro de todo, <strong>CLO3D</strong> como herramienta principal de construcción de prendas.</p><p><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"></p><p>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.</p><p>Porque creo que la <strong>comunidad hispanohablante de CLO</strong> necesita más voz. Más gente compartiendo flujos de trabajo en castellano, más referentes, más conversación técnica.</p><p><strong>Bienvenidos a GS70. Esto es solo el principio.</strong></p><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><p></p><p><strong><em><u>TIP CLO del post: Empieza con el avatar correcto</u></em></strong></p><p><em>Antes de hacer el patrón, define el avatar. En GS70 usé avatares de DAZ Studio exportados a FBX e importados en CLO.</em></p><p><em>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.</em></p><p><em>Exporta todos los mapas del Avatar, no sólo los que DAZ empaqueta, tendrás que buscarlos y hacerlo a mano pero valdrá la pena.</em></p><hr><h1 style="text-align: center"><strong>¿Tienes alguna duda?</strong></h1><p style="text-align: center"><strong>¡Gracias por tu tiempo!</strong></p>

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

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>From Hobby to Mastery: Juhee Kim, a game character modeler, shares her journey into 3D art and the challenges of creating dynamic characters.</em></span></h2><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/7f6dd77b25544ad698eac16e2337ecee1-.jpg" class="custom-image original-size" data-id="7f6dd77b25544ad698eac16e2337ecee" data-width="2100" data-height="1540"><p></p><h1 style="text-align: center"><strong>Interview with Juhee Kim | </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/L4kLLv"><strong>Bone whip woman</strong></a><strong> | Game character modeler</strong></h1><h1><strong>We would like to know more about you, Juhee. Please briefly introduce yourself and explain how you started working in 3D.</strong></h1><p>Hello, I am Juhee Kim, a game character modeler. Since childhood, I have been fascinated by unique character art and have developed a deep interest in art by appreciating various works. I had a hobby of making things by folding, cutting, and pasting by hand, and through this process, I naturally became interested in creating 3D characters.</p><p>Currently, I enjoy bringing captivating concept art to life in 3D. I focus on enhancing the individuality and details of each character to increase immersion.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/a3497e0d6b054cc6b3e8cab72556032a2.jpg" class="custom-image original-size" data-id="a3497e0d6b054cc6b3e8cab72556032a" data-width="3000" data-height="4000"><p></p><h1><strong>Could you please explain in detail about your recent project, 'Bone Whip Woman'?</strong></h1><p>This character is a strong and weighty warrior, contrasting with the cute and pretty images I have previously created. This project focused on battle and wandering, emphasizing the delicate depiction of the character's torn and tattered cape, clothing, and equipment.</p><p>A lot of leather material was used, requiring the expression of various textures, and working with bone details, which are not commonly seen, was challenging but very enjoyable.</p><p>Lastly, I concentrated on conveying a sense of loneliness while emphasizing the dynamic movement of the hair and cape.</p><p></p><h1><strong>Your work using Marvelous Designer is impressive. Do you have any advice or tips for Marvelous Designer users based on your experience with this project?</strong></h1><p>I believe Marvelous Designer is a very useful tool for shaping the basic form of clothing. It allows for much more efficient and realistic creation compared to imagining and manually creating folds. Instead of obsessing over detailed folds, I recommend shaping the basic form of the folds first and then gradually sculpting them in ZBrush.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/5c2fbce56a854755b7380e1f734afcd93.jpg" class="custom-image original-size" data-id="5c2fbce56a854755b7380e1f734afcd9" data-width="2553" data-height="1385"><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/70af7ca5ae1b4314b1db85b7fb63d0344.jpg" class="custom-image original-size" data-id="70af7ca5ae1b4314b1db85b7fb63d034" data-width="2796" data-height="2576"><p></p><p>For the cape around the neck, I divided it into several parts, used pins to shape it, and managed each part individually using the freeze function. If I had made it as a single long piece of fabric, it would have been much harder to control.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/6f8e7a87c44045eebdf489e1170171d15.jpg" class="custom-image original-size" data-id="6f8e7a87c44045eebdf489e1170171d1" data-width="2553" data-height="1391"><p></p><p>Additionally, the cape needed to appear as if it was blowing in the wind. Using Marvelous Designer's wind simulation feature, I could easily create the desired shape. The most challenging part was adjusting the values of various options until I achieved the desired look. It requires patience and persistence to keep adjusting until a natural form is achieved, so it's important not to give up.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/686ca98f36ea447496f556e4963e4be66.jpg" class="custom-image original-size" data-id="686ca98f36ea447496f556e4963e4be6" data-width="2547" data-height="1383"><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/b0d9282de3fb407d977b9d0db43055ae7.jpg" class="custom-image original-size" data-id="b0d9282de3fb407d977b9d0db43055ae" data-width="2640" data-height="3000"><p></p><h1><strong>Could you provide a brief overview of the various tools used in the pipeline?</strong></h1><p>Using Marvelous Designer, I created the basic forms of not only the clothing but also detailed elements like gloves. For necessary parts, I utilized the retopology feature built into Marvelous Designer to create UVs in advance.</p><p>After that, I performed basic modeling and hair/fur work in 3ds Max, and high-polygon work in ZBrush. The baking process was done using Marmoset Toolbag, and texture painting was completed in Substance Painter.</p><p>Finally, I set up the background and lighting in Marmoset Toolbag to complete the final rendering.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/fba7cd1550694012a9d5963f4ab8489f8%285%EB%B2%88%EC%A7%88%EB%AC%B8%EC%9D%98%20%EC%96%BC%EA%B5%B4%203%EA%B0%9C%20%EC%9D%B4%EB%AF%B8%EC%A7%80%EC%97%90%EC%84%9C%20%EB%8C%80%EC%B2%B4%ED%95%A9%EB%8B%88%EB%8B%A4%29.jpg" class="custom-image original-size" data-id="fba7cd1550694012a9d5963f4ab8489f" data-width="3000" data-height="1887"><p></p><h1><strong>When working on a project, there must be parts you enjoy the most and parts that are challenging. What was the most enjoyable part of the process for you?</strong></h1><p>I enjoy refining the base mesh created in Marvelous Designer in ZBrush. I find great satisfaction in cleaning up unclear boundaries and considering cross-sections and seams while sculpting details.</p><p>Creating the face was also interesting. Although it was the most challenging task, I enjoyed both the sculpting and texturing processes. I particularly remember trying to depict realistic makeup in Substance Painter.</p><p></p><h1><strong>What was the biggest challenge you faced while working on the project?</strong></h1><p>There were many unique considerations, such as creating fur and simulating wind-blown effects, which made it difficult to get a feel for each stage of the process. Among these, creating the hair was particularly challenging because it needed to have a dynamic, wind-blown shape rather than a static one. I went through a lot of trial and error to get the silhouette right.</p><p>However, once I started to get a feel for it and the silhouette began to match my envisioned image, things started to fall into place. At that moment, my mindset shifted to one of enjoyment. It seems like this is a process I have to go through every time.</p><p></p><h1><strong>Lastly, do you have any advice for those starting in 3D art? This could be career advice or tips on mindset when creating artwork.</strong></h1><p>I believe it is very important to seek help and advice from others. As I am still learning, I constantly question my work and strive to improve it.</p><p>Additionally, I think it is crucial to view as many works as possible and collect references. Referring to various materials is essential for enhancing the quality of your work.</p><p>I also find it meaningful to take screenshots or keep simple records at each process stage. This not only helps track the progress of your work but also serves as useful reference material for future projects.</p><p>Lastly, don't strive for perfection too much. I encourage you, as a fellow artist, to enjoy the process and see it through to the end. Thank you.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/34378290f2ab47e288a351fcb7f49ce59.jpg" class="custom-image original-size" data-id="34378290f2ab47e288a351fcb7f49ce5" data-width="3000" data-height="3000"><p></p><h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/juheehee"><strong><em>Link to Artstation</em></strong></a></h1><p></p>

Bone Whip Woman

土木出身逆袭B社！西蒙ltw，重新定义二次元角色的写实可能

Agnes | Shatterlight

Marvelous Designer Official

Marvelous Designer Official