<h2 style="text-align: center">From Hobby to Mastery: Juhee Kim, a game character modeler, shares her journey into 3D art and the challenges of creating dynamic characters.</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"><h1 style="text-align: center">Interview with Juhee Kim | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/L4kLLv">Bone whip woman</a> | Game character modeler</h1><h1>We would like to know more about you, Juhee. Please briefly introduce yourself and explain how you started working in 3D.</h1>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.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.<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"><h1>Could you please explain in detail about your recent project, 'Bone Whip Woman'?</h1>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.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.Lastly, I concentrated on conveying a sense of loneliness while emphasizing the dynamic movement of the hair and cape.<h1>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?</h1>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.<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">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.<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">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.<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"><h1>Could you provide a brief overview of the various tools used in the pipeline?</h1>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.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.Finally, I set up the background and lighting in Marmoset Toolbag to complete the final rendering.<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"><h1>When working on a project, there must be parts you enjoy the most and parts that are challenging. What was the most enjoyable part of the process for you?</h1>I 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.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.<h1>What was the biggest challenge you faced while working on the project?</h1>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.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.<h1>Lastly, do you have any advice for those starting in 3D art? This could be career advice or tips on mindset when creating artwork.</h1>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.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.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.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.<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"><h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/juheehee">Link to Artstation</a></h1>

Bone Whip Woman

ladyrich77777

<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

Collection A

<h2 style="text-align: center">VRChatで数多くのワールド制作、3Dデザイン、ディレクションを手掛ける3Dアーティスト、Lura ( <a target="_blank" rel="noopener noreferrer nofollow" href="https://x.com/Lu_Ra_999">@Lu_Ra_999</a> ) 氏。 <a target="_blank" rel="noopener noreferrer nofollow" href="https://quickbrown.net/">QuickBrown Design Studio</a>の代表でもある彼が、これまでのワールド／アセット制作における制作経験を語ります。</h2><h2 style="text-align: center">Lura氏がMarvelous Designerと共に行った、バーチャルリアリティ空間に「快適でリラックスできる空間」をデザインし、創造するための道のりを追います。</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/fd8089806d2645798188d95e313567471-3.jpg" alt="fd8089806d2645798188d95e31356747" class="custom-image original-size" data-id="fd8089806d2645798188d95e31356747" data-width="2896" data-height="4096"><img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/c0e4ee0da2274902ba22c36b4a5934ebbackpack.jpg" alt="c0e4ee0da2274902ba22c36b4a5934eb" class="custom-image original-size" data-id="c0e4ee0da2274902ba22c36b4a5934eb" data-width="2161" data-height="1329"><h1>1. アーティスト紹介</h1>私はVRChatを中心に、ワールド制作やアートディレクション、モデリング、アセット販売を行っているLuraです。 リアルタイムで動作する3DCG空間の制作を得意としており、ゲームやVR向けに住空間やイベント会場などをデザインしています。武蔵野美術大学を卒業後、ゲーム業界で働きながらVRChatでの創作活動を開始しました。 バーチャルマーケットやShaderFesなどのイベントで建築アセットやギミック制作を経験し、2023年にフリーランスとして独立。現在はQuickBrown Design Studioとして活動しています。<hr><h1>2. アートディレクションとビジュアルスタイル</h1>代表的な事例として、「LuminousHotel」ではラグジュアリーなホテル空間をテーマに、長時間滞在しても快適に過ごせるよう設計。手触りの良いギミックも多く盛り込みました。また、280万人以上が訪問した「Floating Airship」では、布を多用して柔らかくリラックスできる空間を演出。VRでも「ぶつかっても痛くない」ような安心感を与えるデザインを目指しました。私が常に意識しているのは「長時間過ごしても不快にならない空間」です。特にライティングにこだわり、落ち着いた雰囲気を重視。VRではオブジェクトを至近距離で観察できるため、違和感を感じさせない精度で仕上げることを大切にしています。<hr><h1>3. Marvelous Designerを用いた制作パイプラインと工夫</h1><h4>【ワールド制作での活用事例：Floating Airship】</h4><ol><li>ワールドメッシュのインポート Marvelous Designerでは既存のワールドのメッシュをそのまま取り込めるため、「Floating Airship」の空間をインポートして活用していました。</li></ol>Floating AirshipをMarvelous Designerに取り込んだ際の画像 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/af120b968eb84f68a1249aa04c6b4d5d1-0.jpg" alt="af120b968eb84f68a1249aa04c6b4d5d" class="custom-image original-size" data-id="af120b968eb84f68a1249aa04c6b4d5d" data-width="2084" data-height="1398"> <ol start="2"><li>布や布団の物理演算配置 取り込んだ空間内に布や布団を物理演算で自然に配置することで、柔らかくリラックスできる雰囲気を実現しています。</li></ol>空間に布や布団を物理演算で配置 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/2659b1b071664681a990f03e492172bb1-1.jpg" alt="2659b1b071664681a990f03e492172bb" class="custom-image original-size" data-id="2659b1b071664681a990f03e492172bb" data-width="2086" data-height="1395"><ol start="3"><li>完成形 最終的に布の配置が空間全体の雰囲気を高め、居心地の良い滞在空間に仕上がりました。</li></ol>完成した空間 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f990cd34979a453dbdc4bb8ba7e4791f1-3.jpg" alt="f990cd34979a453dbdc4bb8ba7e4791f" class="custom-image original-size" data-id="f990cd34979a453dbdc4bb8ba7e4791f" data-width="2896" data-height="4096"><hr><h1>【プロップ制作での活用事例：リュックサック】</h1><ol><li>Marvelous Designerでのモデリング リュックサックをMarvelous Designer上で制作しました。内部に空気を入れるような調整ができ、中身が詰まった自然なシルエットを表現可能です。 この段階では厚み付けは行わず、そのままBlenderへエクスポートします。</li></ol>Marvelous Designerで完成したリュックサック<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f41d31269f5a46d59cac47609fcc25cc2-1.jpg" alt="f41d31269f5a46d59cac47609fcc25cc" class="custom-image original-size" data-id="f41d31269f5a46d59cac47609fcc25cc" data-width="1863" data-height="1393"> <ol start="2"><li>Blenderでの調整 厚みのない状態でBlenderに取り込み、まずトポロジーを整えます。Marvelous Designerで型紙の角を丸めるとトポロジーが複雑になりやすいため、平面のままQuadRemesherをかけてクリーンなトポロジーを確保。その後、厚み付けモディファイアで必要な部分に厚みを追加します。</li></ol>Blenderに取り込んだ際の画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/a764dcb1345b4f6fb6b2566f0bae1e672-2-1.jpg" alt="a764dcb1345b4f6fb6b2566f0bae1e67" class="custom-image original-size" data-id="a764dcb1345b4f6fb6b2566f0bae1e67" data-width="2110" data-height="1399"> QuadRemesherでトポロジーを綺麗にして厚み付けした際の画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/9a8be7165f5844ce8429f00a7c14ef9c2-2-2.png" alt="9a8be7165f5844ce8429f00a7c14ef9c" class="custom-image original-size" data-id="9a8be7165f5844ce8429f00a7c14ef9c" data-width="1920" data-height="1080"><ol start="3"><li>UV展開 トポロジーを綺麗にすることで、厚み付け後のUV展開がスムーズになります。</li></ol>UV展開の全体画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/a53f5e3be9fb4c0bb47939ff6ca0f6de2-3.png" alt="a53f5e3be9fb4c0bb47939ff6ca0f6de" class="custom-image original-size" data-id="a53f5e3be9fb4c0bb47939ff6ca0f6de" data-width="1920" data-height="1080">リュックの制作では、UV1とUV2を明確に役割分担しています。<hr><h5>■ UV1（テクスチャ用）</h5><ul><li>目的：Substance Painterでの質感表現を正しく出すため</li><li>方法：布の面と厚み部分を分離し、特に厚み部分は「直線的」に展開</li><li>利点：曲率マップやエッジマップが綺麗に働き、縫い目の汚れや角の摩耗を自然に追加できる。厚み部分が直線化されているとペイント時の歪みも防げる。</li></ul>UV1（布面＋厚み部分を直線化した展開） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/8eb1f8931c864d08976fcc910a256ec82-4.png" alt="8eb1f8931c864d08976fcc910a256ec8" class="custom-image original-size" data-id="8eb1f8931c864d08976fcc910a256ec8" data-width="1920" data-height="1080"><hr><h5>■ UV2（ライトマップ用）</h5><ul><li>目的：Unityでライトマップベイクした際の破綻防止</li><li>方法：布の面と厚み部分をつなげて展開し、シームを目立たなくする</li><li>利点：UV1のように分離すると解像度不足で縫い目に影やノイズが出やすいため、UV2ではなるべく連続的に展開。多少伸びてもライティング上は自然に見える。</li></ul>UV2（布面と側面をつなげて展開） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f6681d2f046543739a9c243d598f07ca2-5.png" alt="f6681d2f046543739a9c243d598f07ca" class="custom-image original-size" data-id="f6681d2f046543739a9c243d598f07ca" data-width="1920" data-height="1080"><hr><ol start="4"><li>テクスチャリング（Substance Painter） UV1を丁寧に展開しておくことで、曲率マップが正しく機能。エッジに汚しや色の変化を加えることで質感を大幅に高められます。 </li></ol>Substance Painterでの画像（前面） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/66ce90d536354b859ef33d0962c5fa0f2-6-1.jpg" alt="66ce90d536354b859ef33d0962c5fa0f" class="custom-image original-size" data-id="66ce90d536354b859ef33d0962c5fa0f" data-width="1460" data-height="1382">Substance Painterでの画像（背面） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/b96f3088a1844a3baa1a20ac4081024e2-6-2.jpg" alt="b96f3088a1844a3baa1a20ac4081024e" class="custom-image original-size" data-id="b96f3088a1844a3baa1a20ac4081024e" data-width="1458" data-height="1388"><hr>MarvelousDesignerをリアルタイム環境で使う場合は、先の工程を意識しながら制作を進めることが重要です。

[JP] Lura: バーチャルリアリティーにおける快適な空間デザイン

Version in English: Would it be possible to display this 3D version on my company website for the client?Versão em Português: Seria possível exibir essa versão 3D no site da minha empresa para o cliente?

Como faço para disponibilizar a versão final em 3D da peça ao cliente? | How do I make the final 3D version of the part available to the client?

Hi everyone,I'm a PhD student at UC Davis using CLO 2025.2.330 Standalone Academic on Mac. I'm building an ML dataset of garment simulation videos across different body shapes using the Python API. I've contacted CLO support (ticket 135471) and they directed me here. I have two blockers I can't resolve:Issue 1: ImportAvatarMeasurement() always returns FalseI have tried every combination of .avs and .avt files including:<ul><li>US_ASTM Missy/Petite/Plus .avs files with FV2.1_Yuna.avt</li><li>Custom-saved .avs files with FV2.1_Yuna.avt</li><li>Exported mannequin .avt with various .avs files</li></ul>Code used:import import_api, ApiTypesopt = ApiTypes.ImportExportOption()result = import_api.ImportAvatarMeasurement(avs_path, avt_path, opt)print(result) &nbsp;# always FalseIssue 2: ExportAnimationVideo() cannot save headlessly on MacExportAnimationVideo(path) always opens a Qt dialog that cannot be automated. Calling with no arguments returns a path but the file is never written (no Xvid codec on Mac). How do we export animation videos headlessly from Python on Mac?Any working code examples would be greatly appreciated.

Python API ImportAvatarMeasurement() always returns False on Mac + headless video export

TL/DR: Suppliers can't open my DXF exports from the most recent CLO versions, the last version that works is ver. 2024.2.328 (February 26, 2025). That version also has various problems in the exports detailed below. Has anyone had success exporting DXFs for use in Lectra Modaris and Gerber? Please let me know if there are any import/export settings that I or my suppliers are missing that will help us. Thank you!Full Post: I have been having issues with exporting to dxf, both AAMA and ASTM, for use in Gerber Accumark, Optitex, and Lectra Modaris programs with suppliers. These issues are present in the DXF exports from the most recent versions of CLO:<ul><li>Gerber cannot open files exported from the latest CLO versions at all: issue with piece perimeter missing (screenshot below)</li><li><img src="https://storagefiles.clo-set.com/public/community/202601/5d0dee24ec86494a83eaa92fc6626900/images/106187d2b19d4493b563e7c12eca7253Gerber_CLO_Import_Issue.jpg" alt="106187d2b19d4493b563e7c12eca7253" class="custom-image original-size" data-id="106187d2b19d4493b563e7c12eca7253" data-width="2160" data-height="3840"></li><li>Optitex cannot open files exported from the latest CLO versions: issue with incorrect scale.</li><li>Lectra Modaris does not maintain pattern arrangement/marker from CLO file-- the pattern pieces are scattered around the user interface and not in the positions I placed them. </li><li>Lectra Modaris shows all lines (cut lines, internal lines, baselines) as cut lines. </li></ul>The most recent previous version of CLO that I found that exported something these programs could open was ver. 2024.2.328 (February 26, 2025). The following issues are present in dxf exports from that version:<ul><li>Missing, undersized, or duplicate Notches (not all notches in a file, seemingly at random).</li><li>Duplicate internal/baselines in DXF exports-- these duplicate both the existing internal lines, AND there are additional internal/baselines copying the cut lines on all shapes. The files I am using are not meant to have seam allowance or grading, just cut lines and internal lines, and sometimes some baselines. </li><li>Lectra Modaris does not maintain pattern arrangement/marker from CLO file-- the pattern pieces are scattered around the user interface and not in the positions I placed them. </li><li>Lectra Modaris shows all lines (cut lines, internal lines, baselines) as cut lines. </li></ul>Please let me know if there is anything I can do on my end when exporting or anything my suppliers could easily do on their end for importing that would mitigate some of these issues. Thank you all!

Issues with Export/Import to DXF for Lectra Modaris and Gerber

This outfit was created by <a href="https://connect.clo-set.com/portfolio/804888/collection/collections" target="_blank">[pouya az]</a> and is compatible with the inZOI Mod. The original work can be found at: <a href="https://connect.clo-set.com/detail/2f6d33b653594a72a07592580d513ef8" target="_blank">[Link]</a> **Limited-Time Offer: This asset is only available during the contest period. [File Contents] Mod Package File [How to use] Download and extract the files. Then, copy the extracted folder to the following directory: Documents\inZOI\Mods For a detailed guide, please refer to the link below. <a href="https://shaded-guilty-011.notion.site/inZOI-User-Guide-for-the-Mods-Package-23e4bf91ad5580ba8778da88ea12a3c1" target="_blank">https:&#x2F;&#x2F;shaded-guilty-011.notion.site&#x2F;inZOI-User-Guide-for-the-Mods-Package-23e4bf91ad5580ba8778da88ea12a3c1</a> --- Use of Gamewear Items is permitted solely for your personal gameplay within inZOI. Any form of distribution or redistribution of Gamewear Items, whether for commercial or non-commercial purposes and whether paid or unpaid, on any platform other than inZOI is strictly prohibited.

Bone Whip Woman

Marvelous Designer Official

Marvelous Designer Official