<h2 style="text-align: center">AMC Studio collaborates with La Blouse Roumaine, blending tradition with tech. Marvelous Designer aids precise garment recreation, enriching cultural storytelling.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/6e63bfc67ff744928073dbcecd68d67020231017_01.jpg" class="custom-image original-size" data-id="6e63bfc67ff744928073dbcecd68d670" data-width="3840" data-height="2160"><h1>Studio Introduction</h1>AMC Studio is an art studio offering digital art creation (3D, 2D, and Concept Art), content solutions, and technical tools for the gaming industry. Our incredibly skilled and passionate team of artists creates top quality art and offers production services for a broad range of project types. We’ve partnered with great names in the industry and helped shape some of the most acclaimed titles, such as: Dead Space Remake, The Witcher 3, Marvel’s Spider-Man, Call of Duty franchise, World of Tanks, Mafia Definitive Edition &amp; more.<h1>What project do you want to present to us?</h1>The project we are about to present is a collaboration between 2 realms: the traditional and the digital. We worked alongside La Blouse Roumaine, a non-governmental organization that promotes Romanian folklore, tradition and culture. The project’s objective was to recreate a few traditional costumes from different parts of Romania.We had to do a lot of research and work with scientific consultants to make sure we recreated the costumes as authentically as possible. All colors and geometric shapes have a particular meaning, the position and the way the ornaments are placed is also very important. So we had to make sure we got everything right.<h1>When do you start using Marvelous Designer on your costumes?</h1>The first step before jumping into the actual work is to gather the references. In this particular case, some were researched by us and then discussed with the embroidery consultants. Some came from books or museum archives, and some were provided by our partners in the project. You can see a few of the references we gathered for each costume that helped guide us in our process.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/4ef41a924eed4e0f871d743f87f8704320231017_02.png" class="custom-image original-size" data-id="4ef41a924eed4e0f871d743f87f87043" data-width="3426" data-height="2034">The next step is to create a blockout that helps us see the bigger volumes and establish the general proportions. In this case, we chose to start the blockout directly in Marvelous Designer, because we decided it would be best suited to help us see some quick realistic fold simulations. It was also very important for us to capture the materiality of the garments from the beginning, so the variety of material presets really helped in this endeavor.Some settings that we found very useful are Shrinkage Weft and Shrinkage Warp. That’s because they allowed us to change the proportions of the garment on the horizontal and vertical axis without actually changing the 2D pattern, which is a non-destructive workflow, and it saves a lot of time. Working with layers is also very handy, and we used them in creating our vest. We needed it to have a stiffer feel while also having some folds that we could control easier, so we found this to be the best approach.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/104e66518f604fe0975f842b8ac064d120231017_03.png" class="custom-image original-size" data-id="104e66518f604fe0975f842b8ac064d1" data-width="3216" data-height="1907"><img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/13629b7fad6c498cbcf9defc59872ece20231017_04.png" class="custom-image original-size" data-id="13629b7fad6c498cbcf9defc59872ece" data-width="3205" data-height="1762"><h1> What are the long-term benefits of using Marvelous Designer?</h1>When we were happy with the results we had in Marvelous, we prepared the garments for export one by one. First, we lower the particle distance if needed, to get the maximum amount of details.After that, we quadrangulate or remesh the garment and we export it with the following settings: single object, unwelded, thin and unified UV coordinates on. Usually, we export with unwelded points, but it’s not a rule. It depends on how you approach the garment later.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/cc6bcd9bdf1848f49ab52fe71e2b6f6020231017_05.png" class="custom-image original-size" data-id="cc6bcd9bdf1848f49ab52fe71e2b6f60" data-width="3129" data-height="1439">We reset the 2D arrangement and export the pattern so we can later use it in Maya.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/03f8d4ddaf4a4d2882589bc432e56e9520231017_06.png" class="custom-image original-size" data-id="03f8d4ddaf4a4d2882589bc432e56e95" data-width="970" data-height="652">After that, we import the 2D pattern in ZBrush and ZRemesh them to have a cleaner, sculptable topology. A tip here is to go quite low with the geometry resolution because it's easier to control. Keep in mind that you now have the initial 2D pattern from Marvelous and another zremeshed version of it.The next step is to go to Maya and import the 3D garment and 2D pattern initially exported from Marvelous Designer, and also the&nbsp;ZRemeshed&nbsp;2D. Make sure you match the contour of the remeshed 2D pattern with the one from Marvelous.You can now transfer the UV's from the 2D pattern in Marvelous Designer to your&nbsp;ZRemeshed&nbsp;pattern.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/5e8571f6bf224d308bbf15d9e002df2420231017_07.png" class="custom-image original-size" data-id="5e8571f6bf224d308bbf15d9e002df24" data-width="1093" data-height="767">The same operation will be made to transfer the attributes from the 3D garment to your 2D remeshed pattern, though some settings differ.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/332999dc60614716be2d86c78eab018520231017_08.png" class="custom-image original-size" data-id="332999dc60614716be2d86c78eab0185" data-width="1080" data-height="760">Now you will have a clean geometry with UV’s to work with.&nbsp;We transfer back to ZBrush and start adding thickness with Panel Loops.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/3ec9f88aabd2457797260c0a90aa5c3d20231017_09.png" class="custom-image original-size" data-id="3ec9f88aabd2457797260c0a90aa5c3d" data-width="2379" data-height="1291">We again use the initial 3D garment form Marvelous to re-project all the details on the newly cleaned geometry using&nbsp;morph target&nbsp;on each subdivision created. That’s so we can easily clean all the imperfections that might appear during this process with the&nbsp;morph brush.&nbsp;As you can see, using Marvelous helps us a great deal along the way. Not only to achieve believable and fast folds but also on the technical side, giving us the possibility to extract really nice UV’s as well.<h1>How was your pattern making process and did you encounter any challenges?</h1>After having a good base to start from, we begin to add all the necessary details. For this project we needed to be very precise in creating all our ornaments and symbols because they all have stories to tell. The costume as a whole tells you which part of&nbsp;the country the person wearing it comes from, sometimes down to a particular street in a village, what sort of celebration it’s worn for, whether the person wearing it is young or elderly. Woven in the fabric are also some traditional protective charms. All in all, our traditional costumes are like wearable temples.So taking everything into account, it was crucial for us to recreate in 3D all the details as closely to the references as possible.Something that we really focused on was the creation of the ornate patterns, which we worked on using different methods. One of the methods starts with creating the pattern in ZBrush, making sure it's tileable, assigning polypaint (for ID color if needed), making an imm brush to help with the placement and then either using it for the final baking stage, or creating a displacement from it.IMM brushes<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/3d04ec2d93264b378db62a09ad56058b20231017_10.png" class="custom-image original-size" data-id="3d04ec2d93264b378db62a09ad56058b" data-width="2530" data-height="810">Planning the displacement map<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/6be5a599f1ba4e1fbcdcb010e5fb6d4720231017_11.png" class="custom-image original-size" data-id="6be5a599f1ba4e1fbcdcb010e5fb6d47" data-width="3413" data-height="726">Selection of patterns created in ZBrush.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/d4278b4a48814b8ebd66cdbd593efef620231017_12.png" class="custom-image original-size" data-id="d4278b4a48814b8ebd66cdbd593efef6" data-width="2778" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/e291c275b01f4cae99e7d1852ca7d8db20231017_13.png" class="custom-image original-size" data-id="e291c275b01f4cae99e7d1852ca7d8db" data-width="3301" data-height="1068"><img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/cd1886f8f85e41bf895b48dcbb9bdbcf20231017_14.png" class="custom-image original-size" data-id="cd1886f8f85e41bf895b48dcbb9bdbcf" data-width="2458" data-height="1213">Another method used was to create masks that helped us achieve different results for materials, such as leather. There was a lot of testing done in Photoshop and ZBrush to make sure we achieved the proportions and distribution needed with each pattern.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/1f5b4bf0d7a74cd7be9b378d2b892a5c20231017_15.png" class="custom-image original-size" data-id="1f5b4bf0d7a74cd7be9b378d2b892a5c" data-width="3076" data-height="1262">We also did the patterns by first creating a color map that was used as an ID map in Substance Painter to generate the desired pattern. This worked only with square looking embroideries.<img src="https://storagefiles.clo-set.com/public/community/202501/5383d8a9399848079442b6724fce3a1e/images/49bedc51aa724c2abd718ace78f4b04220231017_16.png" class="custom-image original-size" data-id="49bedc51aa724c2abd718ace78f4b042" data-width="2119" data-height="1939"><a target="_blank" rel="noopener noreferrer nofollow" href="https://amcstudio.ro/">Link to&nbsp;Website</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/amc.studio.romania/">Link to&nbsp;Instagram&nbsp;</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/amcrostudio">Link to&nbsp;Artstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/c/AMCStudio">Link to&nbsp;Youtube&nbsp;</a>

WHEN DIGITIAL MEETS TRADITIONAL

Denim without Textures

<h2 style="text-align: center">You simply can’t get close to the level of detail and believability you need without Marvelous Designer.</h2><img src="https://storagefiles.clo-set.com/public/community/202501/3670e040aa464385a327f39e5ba6943d/images/7b58e301c2064d3a87f285c5d219903emd_cases_flipped_001.jpg" class="custom-image original-size" data-id="7b58e301c2064d3a87f285c5d219903e" data-width="1180" data-height="610">Morten Jeager | Concepting with Marvelous Designer &amp; Zbrush | 3D Character Artist at FlippedNormals<hr><h1>Could you briefly describe yourself?</h1>My name is Morten and I work as a 3d character artist for Framestore in London. My professional work mostly revolves around Hollywood VFX but whenever I have time to work on my own projects I like to experiment with 3D and steer away from the realism that I do every day. I’ve been doing 3D since I was 15 year old, and my path has taken me through a lot of different branches. I’ve tried everything from effects to animation. Ultimately I found a passion for characters and that’s what motivates me. I’m also the co-founder of the tutorial site FlippedNormals where we work to create the highest quality tutorials for anyone getting into 3D as well a seasoned professionals. Teaching this way has sparked something amazing, and passing on the knowledge that I’ve have is probably the most fulfilling thing I’ve ever done.<h1>Which features do you think is the most powerful advantage in the Marvelous Designer compared to other clothing simulation tools when you were using it for a project?</h1>I love the speed and ease of use that Marvelous Designer provides. Being able to jump in and create useable clothing quickly is something I enjoy immensely. I feel because Marvelous Designer is tailored to artists, it’s super easy to change the look and style of fabrics in any way I want. After the most recent update I’ve been using Symmetric Sewing and Merging a lot, this has meant that can focus more on creating fabrics instead of worrying my sewing. This is a great example of the how the developers listen to the community and provide the features we really need.<h1>Which features do you want to see from Marvelous Designer in the future version?</h1>In my day to day work I often work with very complex patterns and the layering is a great tool for just that. But being able to shift layers around to go below layer 0 would be amazing. Sometimes during a project you start adding fabrics underneath what you have already done, and having to reshuffle existing layers can be bit of a pain. Another extremely helpful feature would be the integration of a reference system. Being able to load in templates of fabrics without having it be 3D geometry could really help speed up the scenes, if this could be bundles with some accurate measurements for the reference plane, we would have all we need.<h1>Would you recommend Marvelous Designer to CG artist and why is that?</h1>Any artist who is serious about character work needs this in their arsenal, I can’t stress this enough. Whether you’re working in film, games or just starting out this will give you a serious edge when creating fabrics for any character. You simply can’t get close to the level of detail and believability you need without Marvelous Designer. Marvelous Designer has become the standard in both industries when creating clothing for our characters and it’s easy to see why.<img src="https://storagefiles.clo-set.com/public/community/202501/3670e040aa464385a327f39e5ba6943d/images/51f47c1da0c2477787e234d1ad5a25f7md_cases_flipped_004.jpg" class="custom-image original-size" data-id="51f47c1da0c2477787e234d1ad5a25f7" data-width="1180" data-height="610"><img src="https://storagefiles.clo-set.com/public/community/202501/3670e040aa464385a327f39e5ba6943d/images/54e5f616c6654bbdb181c9bef899a19dmd_cases_flipped_003.jpg" class="custom-image original-size" data-id="54e5f616c6654bbdb181c9bef899a19d" data-width="1180" data-height="610"><img src="https://storagefiles.clo-set.com/public/community/202501/3670e040aa464385a327f39e5ba6943d/images/260be6a9259e4462b3cae029a38bbbbfmd_cases_flipped_002.jpg" class="custom-image original-size" data-id="260be6a9259e4462b3cae029a38bbbbf" data-width="1180" data-height="610">

Contest - CONNECT | Global 3D Fashion Design Competitions

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CONNECT X HAZZYS

HAZZYS FOOTBALL CLUB

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OUTDOOR LIFESTYLE CREATOR

Marvelous Designer

Creator's Contest 2025 Vol. 3 FANTASY ARCHIVES

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Every Style Starts with You

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