<h2 style="text-align: center">Nishas VN, a senior game character artist with over 7 years in the industry and 2 years in graphic design, highlights her expertise in her latest project, Odin Alfiifir.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/2c97a676ece343eab833be53c87d087b79809f6c388744499fea437788232916.jpeg" class="custom-image original-size" data-id="2c97a676ece343eab833be53c87d087b" data-width="7126" data-height="4096"><h1>Interview with NISHAS VN | Odin | Character Artist</h1><h1>Artist introduction</h1>My name is Nishas VN. I'm a senior game character artist with more than 7 years of experience in the Game industry and 2 years experience in graphic design . I've worked on quite a lot of games during the years with the last one being Alan Wake 2.<h1>When did you start using Marvelous Designer and how did that affect your workflow process?</h1>Seven years ago, I ventured into the world of Marvelous Designer. My journey began by immersing myself in online tutorials on YouTube, gradually uncovering its immense potential. This software has revolutionized the fashion and 3D design industries by enabling the creation of lifelike 3D clothing and fabric simulations. Not only confined to fashion, but Marvelous Designer has also started making waves in the realm of gaming. Its integration into games, like the renowned Metal Gear Solid V: The Phantom Pain by Konami and Kojima Productions, showcased the software's versatility and impact beyond traditional design spheres. Witnessing its application in such high-profile projects piqued my interest and solidified my belief in its far-reaching influence.Marvelous Designer has remarkably streamlined my workflow, replacing time-consuming traditional cloth sculpting with hyper-realistic garments in mere minutes. Its extensive library of fabrics allows for the authentic capture of cloth materials, elevating the realism of designs. Moreover, Marvelous Designer not only enhances cloth creation but also significantly expedites other processes, such as high-poly and low-poly UV mapping, ultimately saving valuable time across multiple facets of the design pipeline.<h1>As a student, how much time did you find sufficient to gain confidence in using Marvelous Designer?</h1>I was pleasantly surprised by how easy it was to start using Marvelous Designer, and within a month, I was able to achieve some results. However, to produce high-quality work, you must invest more time in learning shortcuts, selecting the appropriate tool for each situation, and researching information for the tools you are unfamiliar with. If you take a break from using Marvelous Designer for some time, it can feel like starting from scratch again.<h1>Explain the project's creation aspects, including intentions, goals, cloth design approach, and references.</h1>Let me delve into my recent project featuring Odin Alfiifir. This endeavor posed unique challenges, particularly in clothing design, prompting me to explore Marvelous Designer's capabilities beyond traditional garment creation. I aimed to showcase a versatility for readers' benefit In this venture, Marvelous Designer played a pivotal role, not only in crafting the clothing but also in designing elements like the bag, cape, and boots. Often overlooked, Marvelous Designer's prowess extends beyond typical clothing design; it aided me in achieving remarkable results, notably in crafting authentic leather boots. Many tend to underestimate its ability to create such intricate details, opting for sculpting methods that often result in unnatural folds. Marvelous Designer, however, provides a more intuitive and realistic approach to crafting these elements.Prior to diving into the creative process, gathering references is a crucial step. For my personal projects, I typically blend design freedom with inspiration rather than strictly adhering to a specific concept or reference. For this particular endeavor, I drew from a Norse Viking dress as a foundation, embellishing it with numerous additional elements to seamlessly integrate it into a fantastical setting. This approach allowed me to infuse elements of my imagination while retaining the essence of the original Norse design.In my PureRef canvas, I curated a diverse array of costume concept and prop inspirations. This compilation served as a rich tapestry of ideas, guiding me to craft a design that strikes a balance between cohesion and distinctiveness. The goal was to create a unified yet uniquely individualized piece, drawing from various sources to inspire a cohesive and original design.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/c00c834a91a8460f8a65cc66d31e47ad7a7a414fea374a61b7d3c740ea07bd52.jpeg" class="custom-image original-size" data-id="c00c834a91a8460f8a65cc66d31e47ad" data-width="1877" data-height="913"><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/f5c7ac5928484c559aa9e4541d0357c9Odin_2-1.webp" class="custom-image medium-size" data-id="f5c7ac5928484c559aa9e4541d0357c9" data-width="8192" data-height="8192"><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/651f26ee639a426d9ca9dc2d6dece379Odin_2-4.webp" class="custom-image medium-size" data-id="651f26ee639a426d9ca9dc2d6dece379" data-width="2657" data-height="5141">Once I've determined the direction for my creation, it's time to import the base mesh or avatar. While many opt for default avatars in Marvelous Designer, I prefer a more controlled approach. It's crucial to have greater influence and control, as clothing inherently influences the form of the underlying flesh. This detail often gets overlooked. Therefore, sculpting any potential influence is essential to ensure a seamless integration between the clothing and the body underneath.From my experience, I've learned that achieving realistic clothing hinges greatly on the initial fitting of the garments. It's crucial to focus on clean patterns and precise fitting as natural stitching and realistic folds tend to emerge more natural during simulation. I advise limiting the use of pins to necessities, as excessive pinning and forced folds can contribute to an unrealistic feel in the clothing. To maintain authenticity steer clear of excessive pinching or symmetrical folds, aiming instead for balanced and natural drapery. Additionally, when dealing with layered clothing, it's advisable to avoid utilizing the fast (GPU) simulation, Due to complications with layered garments, it's best to avoid utilizing the (GPU) simulation, as it may not effectively handle the complexities inherent in layered clothing.Many decorative elements such as ornaments and weapons were deliberately excluded from Marvelous Designer, as their impact on the clothing simulation was minimal. Hence, I chose not to import these details into Marvelous Designer, opting to address them separately outside the software.<h1>Share your approach to working with Marvelous Designer. What tricks have you discovered to boost efficiency, and what advice would you offer to new users?</h1>Prior to diving into the task at hand, I make it a point to set up the lighting meticulously. Getting the lighting just right is crucial as it significantly amplifies the overall appearance and visibility of folds and wrinkles in the design.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/8368958edd934304a4ea5589d415045dScreenshot_01.png" class="custom-image original-size" data-id="8368958edd934304a4ea5589d415045d" data-width="738" data-height="1138">Constructing the bootI adopt a different approach in crafting boots by initially sculpting a base model in ZBrush, which I later import into Marvelous Designer. Using this base mesh as a guide, I employ the Line tool to delineate the boot's outline, refining it further with the Flatten tool to generate a visible pattern, reflecting in the 2D pattern window. Once the entire boot design is established, I simulate its appearance, utilizing the ZBrush base mesh as the avatar mesh within Marvelous Designer. This methodology allows for precise control over achieving the desired fold Mixture in the design.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/165611acb0f64fd0989ffdb63b952fc0Screenshot_02.png" class="custom-image original-size" data-id="165611acb0f64fd0989ffdb63b952fc0" data-width="1354" data-height="862">My workflow within Marvelous Designer follows a clear path. Initially, I focused on constructing a clean pattern and stitching to generate a blockout file with high particle distance. This blockout serves as the foundation, aimed at refining the fitting precisely without relying on excessive pinching or excess fabric. Once the primary fit is perfected, I progress to the secondary detail stage, decreasing the particle distance to introduce moderate folds and simulate additional intricacies. Finally, in the temporary detail phase, I set a low particle distance to add the final touches and meticulously finalize the file.<h1>Explain your process of moving between Marvelous Designer and other software. How do you prepare your project for a smooth transition?</h1><img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/498f532ec867455ea2e12420607be5c0Screenshot_03.png" class="custom-image original-size" data-id="498f532ec867455ea2e12420607be5c0" data-width="570" data-height="616">To convert the Marvelous Designer file into a clean topology, I utilize Maya's Transfer Attributes tool. After exporting, I save two sets of files named boot3D and boot2D. The boot3D file is the direct export from Marvelous Designer, while the boot2D represents the 2D pattern version obtained by right-clicking and selecting "Reset 2D Arrangement." Next, I import the boot2D file into Maya and proceed to create a clean topology using either the Quadraw tool or by employing ZRemesher in ZBrush. Once the retopology process is complete, I save the file as bootretopo. To finalize the transformation, I configure the Transfer AMibutes settings accordingly through the tool's options.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/c931aadfc1e94a71833ea073a7b63a98Screenshot_04.png" class="custom-image original-size" data-id="c931aadfc1e94a71833ea073a7b63a98" data-width="642" data-height="468">Following the retopology process, select the boot2D file first, then the boot retopology file in Maya. Utilize the Transfer Attributes tool and click "Apply" to transfer the UVs from boot2D to boot retopology. Once the transfer is complete, adjust the Transfer Attributes settings as needed to ensure the seamless transfer of UVs between the files.Afterward, right-click and choose "Smooth" to increase the subdivision of the boot reæpo in Maya. Following this, select the boot 3D file first, then the boot reæpo file, and click "Apply" in the Transfer Attributes tool. This action directly transfers the boot retopo attributes to the boot3D file. Next, clear any history by selecting "Edit" and then "Delete by Type &gt; History." You can proceed to remove both the boot3D and boot2D meshes. Export and save the boot retopo mesh. Subsequently, import it into ZBrush and access the Geometry tab, selecting Edge Loop &gt; Panel Loops. Employing this function provides thickness to the boot. Apply "Reconstruit" to revert to lower subdivisions, resulting in a refined and clean high-poly boot mesh.<img src="https://storagefiles.clo-set.com/public/community/202412/a89db3439fff40b09687b1ac1f72c0e7/images/f55df1ed216649838dce7bc36508779bScreenshot_05.png" class="custom-image original-size" data-id="f55df1ed216649838dce7bc36508779b" data-width="266" data-height="572"><h1>by&nbsp;Nishas VN <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nishas">ArtStation</a></h1>

Odin

ferfans3d

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/c5ef7aca4a594b75a49b2df9d0342e72Header_thumb%20%281%29.png" class="custom-image hidden-thumbnail" data-id="c5ef7aca4a594b75a49b2df9d0342e72" data-width="1240" data-height="652"><img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/9f8259e036ed40dfa0914cb97af4de81Header_thumb.png" class="custom-image hidden-thumbnail" data-id="9f8259e036ed40dfa0914cb97af4de81" data-width="1240" data-height="652">Kota Yamaji is a 3DCG artist and illustrator whose work lives at the intersection of fashion and visual arts. Once a graduate of Tama Art University's Department of Graphic Design, and currently a lecturer, he builds boldly colored figures whose garments feel both impossible and convincingly real.</h2> Working with Marvelous Designer, Cinema 4D, and ZBrush, Kota uses cloth simulation to chase a kind of realism that pure sculpting can't easily reach. Drawing on his portfolio "<a target="_blank" rel="noopener noreferrer nofollow" href="https://kotayamaji.com/digitalfashion.html">Digital Fashion Project</a>," we talk with him about his encounters with digital art and Marvelous Designer, where his ideas come from, and how he thinks about the future of digital fashion.<h1> <img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/96fae3fb8e9a4684b345ea6a7c9b28c6190124.jpg" alt="96fae3fb8e9a4684b345ea6a7c9b28c6" class="custom-image original-size" data-id="96fae3fb8e9a4684b345ea6a7c9b28c6" data-width="2048" data-height="2048"> Meet the artist</h1>First, please introduce yourself to the community.My name is Kota Yamaji. After graduating from the Department of Graphic Design at Tama Art University, I began creating illustration and moving-image work using 3DCG. I currently also teach 3DCG as a part-time lecturer at Tama Art University. Tell us how you got into art and creation, and how you came to teach CG at Tama Art University. How do you see the potential of 3DCG within art? Since I went to an art university to begin with, if you think of "creation" in the broadest sense, my first real starting point was probably preparing for the art school entrance exams. But when it comes to digital art specifically, the trigger was learning 3DCG software during my university years. 3DCG isn't limited to digital media—it can be applied physically as well, through things like 3D printing, so I think there are all kinds of ways to make use of it. As for how I ended up teaching, a professor from my student days suddenly got in touch with me. It seems they had seen my work somewhere.<img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/5ce6e7bb6bca4ded885502190b15d6d8181109.jpg" alt="5ce6e7bb6bca4ded885502190b15d6d8" class="custom-image original-size" data-id="5ce6e7bb6bca4ded885502190b15d6d8" data-width="2048" data-height="2048"><hr><h1>Discovering Marvelous Designer</h1>What first led you to start using Marvelous Designer? Can you tell us about the moment you felt, "This is something I can use for my own work"?What got me started was seeing the WIP (work-in-progress) posts of an artist I admire and noticing that Marvelous Designer was part of their workflow. In a pipeline that combines Cinema 4D and ZBrush, at what point do you reach for Marvelous Designer? Where do you feel it does something the other tools simply can't replace?I mostly use it to create clothing for characters. Realistic garment expression really is something only simulation can deliver. With sculpt modeling in ZBrush and similar tools, it might be possible to build something realistic if you put in enough time—but the sheer ease of simulation is a genuine draw.<img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/d1ae1914436d4952b3211e9733c28727Screenshot%202026-06-11%20060631.png" alt="d1ae1914436d4952b3211e9733c28727" class="custom-image original-size" data-id="d1ae1914436d4952b3211e9733c28727" data-width="3440" data-height="1391">Yamaji's Marvelous Designer workspace—patterning in the 2D window with the garment draped on the avatar in 3D.<img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/4e4c17b0fbad461f87845b57a3db7474Screenshot%202026-06-11%20061035.png" alt="4e4c17b0fbad461f87845b57a3db7474" class="custom-image original-size" data-id="4e4c17b0fbad461f87845b57a3db7474" data-width="3440" data-height="1391">Draping done in Marvelous Designer <img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/026e811d736946598ce86eceedec7819250305.png" alt="026e811d736946598ce86eceedec7819" class="custom-image original-size" data-id="026e811d736946598ce86eceedec7819" data-width="900" data-height="900"><img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/33e71792ebec4f2cbbf371c4d939f76d250305_posed.png" alt="33e71792ebec4f2cbbf371c4d939f76d" class="custom-image original-size" data-id="33e71792ebec4f2cbbf371c4d939f76d" data-width="900" data-height="900"> A garment simulated on the avatar (first) and carried through to a dynamic pose (second), with texturing also handled in Marvelous Designer. <img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/c7fc30501efa4a0abd47ee0020d3cb14Screenshot%202026-06-11%20061638.png" alt="c7fc30501efa4a0abd47ee0020d3cb14" class="custom-image original-size" data-id="c7fc30501efa4a0abd47ee0020d3cb14" data-width="3440" data-height="1392">Working on Cinema 4D<img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/a3e191350afc4c1c8c7edf0089db5627250305.jpg" alt="a3e191350afc4c1c8c7edf0089db5627" class="custom-image original-size" data-id="a3e191350afc4c1c8c7edf0089db5627" data-width="1600" data-height="2000">Final Visual<hr><h1>Ideas and Inspiration</h1>Where do your ideas usually come from? Music, fashion, everyday scenery—what tends to be the starting point for your work?I'm influenced by so many different things that it's hard to narrow it down to any single one. I get the sense that my final inspiration comes from an abstracted, almost unspeakable space where all of those things mix together.When you make digital clothing, are you conscious of the physical constraints of real garments—gravity, material, stitching? Or do you enjoy deliberately freeing yourself from those constraints?When making something digital, I think it often becomes more interesting if you ignore those constraints. But at the same time, simulation is exactly what makes realistic expression possible through physical constraints—so I feel it's something of a trade-off. <img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/e0d5f6519e064aa59dddbacd92ae0219190129.jpg" alt="e0d5f6519e064aa59dddbacd92ae0219" class="custom-image original-size" data-id="e0d5f6519e064aa59dddbacd92ae0219" data-width="2048" data-height="2048"><hr><h1>The Future of Digital Fashion</h1>When it comes to the possibilities of digital fashion, what kind of future do you picture for yourself?I don't have all that much specialized knowledge myself, but I think it would be exciting if digital fashion came to be used more often in the creation of real garments. I'm curious about what kind of technical progress might emerge on the efficiency side—things like the extensibility of materials, or cutting out the labor of physically cutting fabric. And if individual designers could easily output the clothing they make digitally into the real world, I think that would be even more interesting. <img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/71c12cd91f10443a85d493385d00f641Screenshot%202026-06-11%20061827.png" alt="71c12cd91f10443a85d493385d00f641" class="custom-image original-size" data-id="71c12cd91f10443a85d493385d00f641" data-width="3440" data-height="1391">Footwear created using Marvelous Designer <img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/85661c9daeb84e75903fbfba22789340shoes02.png" alt="85661c9daeb84e75903fbfba22789340" class="custom-image medium-size" data-id="85661c9daeb84e75903fbfba22789340" data-width="900" data-height="900"><img src="https://storagefiles.clo-set.com/public/community/202606/95da5a77501a4e86b1ab94ffa8de3287/images/3cee1bc68034426d887edc43963f92ed250308.jpg" alt="3cee1bc68034426d887edc43963f92ed" class="custom-image original-size" data-id="3cee1bc68034426d887edc43963f92ed" data-width="1600" data-height="2000">Final Visual<hr>A warm thank you to Kota Yamaji for sharing his process with the community! Follow Kota's socials to experience more of the vivid world of 3DCG and digital fashion that he creates.<ul><li>Kota Yamaji — <a target="_blank" rel="noopener noreferrer nofollow" href="https://kotayamaji.com/digitalfashion.html">Digital Fashion Project</a></li><li>Instagram: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/kotayamaji">@kotayamaji</a></li><li>X: <a target="_blank" rel="noopener noreferrer nofollow" href="https://x.com/k0tayamaji">@k0tayamaji</a></li><li>Behance: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/kotayamaji">Kota Yamaji</a></li></ul>

Where Imagination Takes Shape: 3DCG Artist Kota Yamaji on Cloth Simulation and Digital Fashion with Marvelous Designer

<img src="https://storagefiles.clo-set.com/public/community/202510/d0fbe966160848beb41b6ba1994b23ad/images/adc618065a024a05b2957994cb44f0a9Screenshot%202025-10-30%20at%2010.31.45.png" class="custom-image hidden-thumbnail" data-id="adc618065a024a05b2957994cb44f0a9" data-width="794" data-height="729"><img src="https://storagefiles.clo-set.com/public/community/202510/d0fbe966160848beb41b6ba1994b23ad/images/e44e11751deb4ac69b7f1caed5decbcdScreenshot%202025-10-30%20at%2010.30.59.png" class="custom-image hidden-thumbnail" data-id="e44e11751deb4ac69b7f1caed5decbcd" data-width="852" data-height="552"><img src="https://storagefiles.clo-set.com/public/community/202510/d0fbe966160848beb41b6ba1994b23ad/images/c47e9898de8e4e49b0ffb67b5d5b2abaScreenshot%202025-10-30%20at%2010.30.59.png" class="custom-image hidden-thumbnail" data-id="c47e9898de8e4e49b0ffb67b5d5b2aba" data-width="852" data-height="552">KEY REQUIREMENTS<ul><li>College or university degree in Pattern Making</li><li>Solid experience in a similar role preferably in luxury brands</li><li>Excellent knowledge of techniques used for outerwear and tailoring pattern making is a must</li><li>Proficiency in CAD systems (knowledge of Lectra will be considered a plus)</li><li>Advanced skills in CLO 3D for virtual garment development and visualization</li><li>Good planning and organizational skills</li><li>Good leadership skills</li><li>Language skills: Italian and preferably English</li><li>Positive spirit, able to forge working teams with different multi-cultural personalities</li><li>Ability to maintain energy, focus and to work under pressure</li></ul><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.kering.com/en/talent/job-offers/europe/gucci-tailoring-3d-pattern-maker/">https://www.kering.com/en/talent/job-offers/europe/gucci-tailoring-3d-pattern-maker/</a>

[Job] GUCCI - Tailoring & 3D Pattern Maker(Milano, Italy) 

PERPETUAL WINTER: DOME RIDING

This outfit was created by <a href="https://connect.clo-set.com/portfolio/271693/collection/collections" target="_blank">[Javad Hashemi]</a> and is compatible with the inZOI Mod. The original work can be found at: <a href="https://connect.clo-set.com/detail/fd669770b3ad43d09fbeeed091615ee1" 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.

Red Leather Outfit

Garment

Gender & Age

Women

Style

Outfits

Dress / Jumpsuit

Coat / Blazer

Pants

Genre & Mood

Anime / Costume

Daily Casual

Sleeveless Hoodie Layered Skirt 

Scarlett ★ Scorpio

Bree ★ Taurus

Dapper Tailored Shirt Set

F Peplum Tube Top Skirt Set

M Warrior Armor Costume

Glossy Leather Dress

M Korean Military Uniform

<img src="https://storagefiles.clo-set.com/public/community/202607/7f7e053c20334e9e93ecf32a3ee7c5d5/images/9307badac38d460f9ea052635195fd2eScreenshot%202026-07-08%20at%2018.05.06.png" alt="9307badac38d460f9ea052635195fd2e" class="custom-image original-size" data-id="9307badac38d460f9ea052635195fd2e" data-width="1094" data-height="882">How To Move Two Nodes To The Opposite Direction At Once?I want to move the nodes C and D to the opposite direction 2 cm.How can I do this?

How To Move Two Nodes To The Opposite Direction At Once?

<img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/cd31af8886ff4aed8dac250356823e07sven-ulrich-circus-fence-ingame-03%20%281%29.webp" class="custom-image hidden-thumbnail" data-id="cd31af8886ff4aed8dac250356823e07" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/5ef85e21ef9a4296a431dd05a4aace93sven-ulrich-command-tent-ingame-03.webp" class="custom-image hidden-thumbnail" data-id="5ef85e21ef9a4296a431dd05a4aace93" data-width="1920" data-height="1080">In this exclusive interview, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgGKNo">Sven Ulrich</a>, Senior Hard Surface Artist at Crytek, shares how his team leverages Marvelous Designer to build immersive, believable environments for the dark world of <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.huntshowdown.com/">Hunt: Showdown 1896</a>. Whether constructing modular fabric fences or rugged command tents, Sven breaks down his production process and shares essential tips on art-directing digital cloth.<hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/_3mTLRaZhcw?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Could you please introduce yourself and share a bit about your role in the development of Hunt: Showdown 1896?</h1>I’m <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgGKNo">Sven Ulrich</a>, Senior Hard Surface Artist at Crytek. Whilst I’m in the Hard Surface team, we’re split up further into two teams; weapons and props. I’m part of the props team.I act as a connection point between various departments, such as game design &amp; environment art, making sure the needs of both are met.As a prop artist, I’m a bit of a jack of all trades, so I’ll have to adapt when more organic requests come in, i.e. in the form of cloth-related tasks, or other more organic (literally) tasks.My usual focus is on creating either event-related props, reworking older props which aren’t up to par with the quality level we’d like, or simply creating the assets which are required for new gameplay ideas.Sometimes this is through own initiative, other times it’s through Game Design or Environment Art requests.The day-to-day work is phenomenal as each day, and each asset brings its own, new challenges which must be solved. This is especially true when you’re given more complex tasks and need to end up with a shippable asset. It’s like a big, complex puzzle which you figure out step by step.<img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/4a9709d02bc447488acf0f491f1ce0ad3.asset_railway_crate.png" alt="4a9709d02bc447488acf0f491f1ce0ad" class="custom-image original-size" data-id="4a9709d02bc447488acf0f491f1ce0ad" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/964dfeefa0774e509995fb15dabc1bfe2.asset_command_tent.png" alt="964dfeefa0774e509995fb15dabc1bfe" class="custom-image original-size" data-id="964dfeefa0774e509995fb15dabc1bfe" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/bc2be530393544b9b31132baf919c7061.asset_circus_fences.png" alt="bc2be530393544b9b31132baf919c706" class="custom-image original-size" data-id="bc2be530393544b9b31132baf919c706" data-width="1920" data-height="1080"> “Examples of assets in Hunt: Showdown 1896 which made extensive use of Marvelous Designer”<h1>You created various environment assets like fabric fences and tents, how did Marvelous Designer add value to the project's world-building?</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.huntshowdown.com/">In Hunt: Showdown 1896</a> we like adding cloth here and there since it acts as a visual way of adding resting spots for your eyes. Lots of high frequency detail means the eye will be fatigued easily. Especially in a game where attention to detail matters during gameplay, having rest areas for your eyes is crucial. At the end of the day, it still has to look believable though, which is why we opted for Marvelous Designer.Whilst tools such as Blender also have cloth simulation, and they’re not bad, getting the accuracy and realistic folds dependent on the fabric properties is incredibly valuable to our work.However, the most essential difference between Marvelous Designer and the likes of Blender cloth simulation is that I can continually tweak the cloth, I’m not bound to simulation frames. The plethora of tools/features I have at my disposal to art direct the cloth in the way I need it to look simply outshines other DCC cloth simulation workflows in my opinion.Therefore, what I like most about Marvelous Designer in our pipeline is that it gives extremely quick results which can be iterated and art directed very early on, so we don’t have to spend a lot of time tweaking numbers, adjusting sliders, etc. – it’s a very artist friendly approach to making cloth.<img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/8c5071d775224bab894c19e038656b946.art_direction.png" alt="8c5071d775224bab894c19e038656b94" class="custom-image original-size" data-id="8c5071d775224bab894c19e038656b94" data-width="1710" data-height="1091"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/ffc65bfdb7ae434faa0802c5eade8cab5.wall_pieces_exploration.png" alt="ffc65bfdb7ae434faa0802c5eade8cab" class="custom-image original-size" data-id="ffc65bfdb7ae434faa0802c5eade8cab" data-width="1603" data-height="1127"><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/c34a637a7165427eb0c8e9a5b7f536534.blockout_day1.png" alt="c34a637a7165427eb0c8e9a5b7f53653" class="custom-image original-size" data-id="c34a637a7165427eb0c8e9a5b7f53653" data-width="1128" data-height="683"> "Make something exist first, it can be made good after"<h1> [Modular Tip] For the fabric fences, you used a single asset modularly to complete entire scenes. Do you have any tips for designing modular assets in Marvelous Designer?</h1>Freezing is my favourite feature in Marvelous Designer for creating modular assets. In essence modular assets need to fit together perfectly when placed next to each other, therefore where they overlap, they need to have the exact same geometry. Any z-fighting issues were fixed in blender.<img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/a2e31fa834374b6b8c291770c5552cb67.overlap_example.png" alt="a2e31fa834374b6b8c291770c5552cb6" class="custom-image original-size" data-id="a2e31fa834374b6b8c291770c5552cb6" data-width="1713" data-height="1014"> “Starts and end of cloth need to be the same mesh, else there are gaps at grazing angles, which directly affects the player experience.” Other than that, the tacking tool is great, as you would want to have some kind of avatar to pin your cloth to (in the case of the circus fences &amp; command tents, I’ve had very basic wooden poles as my tack-target). It can also help to tack cloth to other (frozen) cloth, so it mimics that underlying shape. This is incredibly helpful for creating modular pieces.<img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/b85d866b950941a48b8c7ff83c3fbbe98.avatar.png" alt="b85d866b950941a48b8c7ff83c3fbbe9" class="custom-image original-size" data-id="b85d866b950941a48b8c7ff83c3fbbe9" data-width="1448" data-height="940"> “Using some kind of avatar is essential to producing believable cloth.” For the command tent I’ve set out to simulate a strip of cloth (yellow parts in the picture above), with slight sagginess which would be used at the start of a wall of cloth and at the end. The middle piece of cloth is what would be art directed on. This then allows you to create interesting variations of cloth whilst maintaining the exact geometry you need for the overlapping areas in modular assets.The need for exactly matching geometry is further exacerbated at grazing angles where players can see through the sides. Whilst this wasn’t entirely possible on the circus fences, we made sure that this was covered on the command tent, as the circus area was more of a compound whereas the command tent was a small hut in terms of play space.Another tip I’d like to share is to learn your hotkeys; makes working infinitely easier, faster and less cumbersome. With modular pieces you usually have several variants in the same scene for ease of iteration, and to get a good view of the entire picture. However, simulation times can become quite slow when you have a bunch of cloth pieces in one scene. This is where hotkeys come in handy - activate, deactivate, freeze, hide, etc. are all wonderful tools for navigating your scene comfortably and efficiently. <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/community/post/d9fffb13e83a401baa91b639c7795f15">(📒 hotkey guide/shortcut guide)</a><img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/5f9a8b4addbf4e0fbb47b5a7f12335a59.decactivate_pattern.png" alt="5f9a8b4addbf4e0fbb47b5a7f12335a5" class="custom-image original-size" data-id="5f9a8b4addbf4e0fbb47b5a7f12335a5" data-width="2240" data-height="1136">I’d also highly recommend to watch a few guides on making clothes with Marvelous Designer, as some theory is directly transferable to non-clothes tasks. I’ve spent a few hours watching professionals in the clothes-visualisation industry creating clothes from scratch.For example, if you’re looking to create folds in a very specific way, you might want to give darts a try. Darts are cutting out a piece of cloth and stitching it back together. Essentially this reduces the length of cloth in an area drastically, which will create very specific folds. Whilst this isn’t the most realistic approach, it can be used as a tool to give you the visual result you’re after.<h1>[Asset Breakdown] could you pick your most iconic fabric asset from the game and give us a quick breakdown of its production process?</h1>Absolutely! For the command tent we’ve received the initial blockouts from our Environment Art Lead, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/rishabnanda">Rishab Nanda</a>, who made sure they fit their intended use cases. Since our team has done a lot of cloth tasks prior to the command tent, and to support the environment art team we were trusted with producing this modular kit.I’ve started out with isolating the pieces I’d use for the avatar (the skeleton/scaffolding of the tent) and importing those into Marvelous Designer. These would stay in my file throughout the project.First off, I made very crude shapes using the 2D view, placing them where I needed on the avatar in the 3D view, tacking it in place and then simulating. Just so we could get something into engine quickly. Essentially setting up the correct files so iteration would be rapid.Then came exploring different shapes, sizes, etc. to get to a point where we would be happy visually. Art directing folds is a fun back and forth process, as you don’t have precise control over it. However, Marvelous Designer gives you as much control as possible.After final shape/fold feedback was given, I split up the tent into the parts which would make up the modular kit and simulate a final version of them, staying as true to the agreed upon feedback as possible.<img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/986cdbe215ea4c80bcb84e1ed9c3151810.kit_production.png" alt="986cdbe215ea4c80bcb84e1ed9c31518" class="custom-image original-size" data-id="986cdbe215ea4c80bcb84e1ed9c31518" data-width="2630" data-height="1120">“This is the part where playing with the physical properties of your fabric can yield great final results, prior to this stage, it most often is simply wasted time.” Simulating is only half the work, so after we’re all set and done, and happy with the simulated result we bring it over to blender, where the decimation modifier does a decent job at bringing the tents to reasonable level. We opted to bake the high poly simulated cloth onto low poly meshes with a low-resolution texture, due to the sheer size of the assets. Furthermore, this allowed me to create unique diffuse textures for each piece.In engine we added a tiling detail normal map on top, which would give us the fine woven detail, as well as some micro folds to better sell the asset’s look, of a worn down, roughed up tent, fitting into the Hunt: Showdown 1896 setting.An alternative to this would be to use a more high-poly mesh and tiling materials &amp; masking, i.e. in Unreal Engine. Since we’re using the CryEngine though, this was the way we handled this asset.Lastly, we’d have a final check in various time of days, and areas in the level, seeing whether it all fit nicely, or whether some things needed adjustment. Due to the environment art’s blockouts, we didn’t have to do much in the end, it was very much plug &amp; play.<h1>What is your favorite feature or tool to use in Marvelous Designer?</h1>The artist friendly way to simulate things, I can pinch the cloth endlessly without the animation loop restarting as it would do in other programs. I can tweak to my heart’s content until I feel it’s visually where I want it to be. Other than that, in no certain order pinning &amp; tacking, as well as the elastic feature in the selected line tab. This makes art directing folds even easier. <h1>For other users considering Marvelous Designer, do you have any advice or experience to share?</h1>Make mistakes, and make lots of them. No one’s born a master at their craft, in the end you’ll just gain experience by not being afraid to make mistakes. The amount of times I’ve fumbled up a perfectly simulated piece of cloth because I didn’t know of the freeze feature, or the deactivate feature is beyond count. Sure, you can undo, and most often it’ll get you your result back, but learning about other tools that aid in your workflow means you’ll be a more well-rounded artist down the line, you’ll have more tools at your disposal to make more complex tasks, more comfortably.I’d like to end this interview with a small piece of advice which rings true to about anything you do in life. Including simulating cloth in Marvelous Designer. <img src="https://storagefiles.clo-set.com/public/community/202607/07a44d56d06141cfa8c49190075db904/images/6600f8f5f68348cb9cf184938c01c60f11.baby_steps.png" alt="6600f8f5f68348cb9cf184938c01c60f" class="custom-image original-size" data-id="6600f8f5f68348cb9cf184938c01c60f" data-width="503" data-height="796">

Inside Crytek’s Workflow: Building the World of Hunt: Showdown 1896

Collection A

Odin

Marvelous Designer Official

Marvelous Designer Official