<h2 style="text-align: center">Discover how artists like <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ryanandrade">Ryan Andrade</a> use Marvelous Designer to elevate concept art—combining 3D cloth simulation with traditional illustration techniques to create dramatic, painterly visuals for games like Civilization 7. From dynamic character poses to time-saving workflows, Marvelous Designer bridges the gap between realism and stylization in modern game development.</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/kK_JrrP9m2U?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 style="text-align: center">Interview with <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ryanandrade">Ryan Andrade </a>| Civilization 7 | Lead Concept Artist at Firaxis</h1><h1 style="text-align: left">Can you tell us a bit about yourself and your work on Civilization 7?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/77b9152e98a4438cad07da520233a33aCopy%20of%20FranceLP_Thumbnail.jpg" alt="77b9152e98a4438cad07da520233a33a" class="custom-image original-size" data-id="77b9152e98a4438cad07da520233a33a" data-width="1000" data-height="1000">My concept artwork has always had a heavy emphasis on 3D. I picked up Marvelous Designer back in 2014-ish when I was in college. I started using Marvelous Designer as a reference for painting more believable clothing folds for illustrations, and that’s essentially how I use it now on Civilization.<h1 style="text-align: left">Civilization 7 features a stylized look. What led you to incorporate Marvelous Designer into your workflow, and how did it support the artistic direction?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/bd2095716f384fda8836991994d459c6Copy%20of%20XerxesLP_Thumb.jpg" alt="bd2095716f384fda8836991994d459c6" class="custom-image original-size" data-id="bd2095716f384fda8836991994d459c6" data-width="1000" data-height="1000">Civ 7’s aesthetic is dark and moody, and our art director had tons of chiaroscuro paintings for us to reference early in production. Baroque and Renaissance era painters are masters of clothing folds (amongst many other things), and so I once again turned to Marvelous Designer to serve as my reference. Those old masters of course hired models to pose for days while they painted, later painters like Norman Rockwell would use photo reference of hired models for the same effect. For my purposes, I see Marvelous Designer as an evolution on that, allowing me to dress and pose characters which then inform my illustrations.<h1 style="text-align: left">Workflow &amp; Tools – Could you walk us through the key tools and software you used throughout the project?</h1>The first step often happens in Blender where I’m blocking out loose composition ideas with simple geometry. From there I’ll use Daz for more articulated and detailed characters, and put those characters in Marvelous Designer for cloth simulation. Then it’s back to Blender for lights &amp; materials, and lastly is Photoshop for making brushy paint strokes.<h1 style="text-align: left">Can you share some standout moments where Marvelous Designer played a crucial role in creating iconic scenes or characters?</h1><img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/c99c92dc2fe448bba83c11e3aaf6251aCopy%20of%20FranceLP.jpg" alt="c99c92dc2fe448bba83c11e3aaf6251a" class="custom-image original-size" data-id="c99c92dc2fe448bba83c11e3aaf6251a" data-width="5040" data-height="2160">1) final painting The French layer painting for Civ 7 was one of my favorite use cases for Marvelous. The focal point is a woman in a dress hoisting a flag in really dramatic lighting, which would have been hard to paint from scratch without 3D. The great thing about Marvelous is when you’re able to re-use and tweak older assets for new projects, in this case I already made 90% of the stuff I needed, which saved a lot of time.<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/c98c161f97374a2083f7e7b5eee0bd87Copy%20of%20FranceLP_Process.jpg" alt="c98c161f97374a2083f7e7b5eee0bd87" class="custom-image original-size" data-id="c98c161f97374a2083f7e7b5eee0bd87" data-width="5040" data-height="2160">2) underpainting made using the 3D as a reference<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/2896955048b4439482a53ee5c208dd8eCopy%20of%20FranceLP_Process2.jpg" alt="2896955048b4439482a53ee5c208dd8e" class="custom-image original-size" data-id="2896955048b4439482a53ee5c208dd8e" data-width="5040" data-height="2160">3) raw render from Blender using Marvelous Designer and Daz for the figures The Xerxes illustration was a similar scenario, with tons of robed figures right up in front of the camera. Using Marvelous along with Blender gave me a solid foundation for my painting.<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/30eeaee8c31546d7927a31174fba68fcCopy%20of%20XerxesLP.jpg" alt="30eeaee8c31546d7927a31174fba68fc" class="custom-image original-size" data-id="30eeaee8c31546d7927a31174fba68fc" data-width="3840" data-height="2160">1) Final painting<img src="https://storagefiles.clo-set.com/public/community/202506/0c35626a8bb045d9913382c279c8ce43/images/5e8b394b4175451ab9611e17aff0a32fCopy%20of%20XerxesProcess.jpg" alt="5e8b394b4175451ab9611e17aff0a32f" class="custom-image original-size" data-id="5e8b394b4175451ab9611e17aff0a32f" data-width="3840" data-height="2160">2) raw render from Blender using Marvelous Designer &amp; Daz for the figures<h1 style="text-align: left">What advice would you give to artists who want to use Marvelous Designer for concept art?</h1>Budget your time wisely, at least for professional work. Decide which characters in a scene will benefit most from detailed cloth sim, and which could make do without.<h1 style="text-align: left">How would you describe your experience working with Marvelous Designer on this project?</h1>Marvelous is my go-to cloth simulation tool, I’ve used it for all sorts of personal and professional projects, and so far no other program comes close to matching its features.<h1 style="text-align: left"></h1>

Stylized Concept Art Meets 3D: How Marvelous Designer Enhances Illustration in Civilization 7

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<h2 style="text-align: center">FAITH &amp; HONOUR: BARBAROSSA, a historically authentic Adventure RPG set, complete characters' outfits with Marvelous Designer. Check out the whole pipeline they adopted.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/4b6d48779de34e47890dabb93a928397%EC%8A%A4%ED%81%AC%EB%A6%B0%EC%83%B7%202025-01-14%20113851.png" class="custom-image original-size" data-id="4b6d48779de34e47890dabb93a928397" data-width="2374" data-height="1332"><h1 style="text-align: center">Interview with Encurio GmbH</h1><hr><h1>1. Could you introduce your team and recent project -&nbsp;FAITH &amp; HONOUR:&nbsp;BARBAROSSA?</h1>Encurio GmbH was founded in 1995 as a marketing company and begun developing video games in 2013. Our studio is located in Cologne, Germany. Our first game, Valnir Rok, was released in 2017.Currently we are working on our new Game called&nbsp;FAITH &amp; HONOUR:&nbsp;BARBAROSSA. It's a historically authentic Adventure RPG set in the 12th century, during the crusade of Frederick I. Barbarossa.You play as Ulrich, the son of Mathis Reinhardt who was one of Barbarossa’s closest friends until he fell from grace after betraying the emperor. But you know that your father wasn’t a traitor to the Holy Roman Empire and through joining Barbarossa’s crusade you try to find out what really happened while your father was in the emperor’s service.<h1>2. How is Marvelous Designer integrated into your pipeline?</h1>Since our current project is very ambitious, and we need to make many historically authentic garments, Marvelous Designer has been and is essential to our character art pipeline.I got an internship as a character artist at Encurio in 2018. Since then, I have been struggling with the internal work pipeline. I took CGMA's "Cloth Simulation for Games" course with Laura Gallagher in mid 2020 to have a decent foundation with Marvelous Designer and also a better understanding of my craft.&nbsp;Laura has now built her own learning platform to teach Character Artists the necessary knowledge. For anyone who wants to learn Marvelous Designer for working in the game industry, I can only recommend <a target="_blank" rel="noopener noreferrer nofollow" href="https://outgang.studio">https://outgang.studio</a>. Our Character Pipeline is very similar to Laura's recommended CharacterArt Pipeline. The idea behind Laura Gallaghers workflow is to use a virtual reconstruction technique, that is used in the real life fashion industry.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/d1453d683b70443ba2a5529b691617af4d57acc1075a445b8b662c2b9c3bbd65.png" class="custom-image original-size" data-id="d1453d683b70443ba2a5529b691617af" data-width="1956" data-height="1232">You start in ZBrush and sketch the garment with Dynamesh, so it perfectly fits the body like in your references. Afterwards, you split the garment in multiple polygroups, where you would have seams. Then you ZRemesh the garment and can export the mesh for the next step.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/f844b9afcaea487e8e9f37eee1737d73f9c66f8cd2234a4eaca9e62dd4958e0c.png" class="custom-image original-size" data-id="f844b9afcaea487e8e9f37eee1737d73" data-width="1962" data-height="882">After import, you just UV the mesh inside maya to get a 2D layout, which will later be our pattern. This mesh can now be exported once again and is ready to be imported into marvelous as our new garment.&nbsp;<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/72df437d38bb47798fba1e502308776f96fb0b745cc44e9999b705e27fec1995.png" class="custom-image original-size" data-id="72df437d38bb47798fba1e502308776f" data-width="3240" data-height="2056">We can import our mesh from obj to a garment and enable "Trace 2D Patterns from UV Map". This will create the patterns from our UVs. This is the stage, where we need to iterate a lot to have a "perfect" fit for our garment. We adjust the Sketch in ZBrush, adjust the UVs ... export, import "OBJ to Garment" .... and repeat. It`s much easier to fix fitting issues on the Sketch than in Marvelous.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/75652d70c85e4cb7899e38955ada77cf506e1952b1c2472586ea65cda56132b1.png" class="custom-image original-size" data-id="75652d70c85e4cb7899e38955ada77cf" data-width="3137" data-height="1788">When the garment is fitting, we can continue to work on the details. We crank up the particle distance, add borders and trims and work on the material/folds properties. After the final simulation, we merge some panels, where we don't want to have space inbetween and change the mesh type from Triangle to Quadrangulated for the final export.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/1b807f0c7b95481fa4cdc7ec3b9693cb1fae154b2e6044c59889a7f811a26e1a.png" class="custom-image original-size" data-id="1b807f0c7b95481fa4cdc7ec3b9693cb" data-width="3812" data-height="2060">Back in ZBrush we load our Garment into our "Modular Character Template" file to check and see, if the garment fits into our modular character system. Here we adjust the shape and add accessories and details. Afterwards we continue with the usual well known retopo process. I like to export the mesh as alembic (.abc) without decimating and import the mesh as alembic in Maya as GPU Cache. Saving tons of time and issues I had in the past with the decimating process. Viewport stays blazing fast, even with millions of polygons inside maya. <img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/430bd5e0dc6d408981ef5d357efbcb3cde28fdbc5161412293576dad029f6e79.png" class="custom-image original-size" data-id="430bd5e0dc6d408981ef5d357efbcb3c" data-width="2517" data-height="1237">We are texturing the garments with a "Material Based Approach" just like in Paragon. Texturing with Substance, Baking with Marmoset Toolbag (<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=nVes6OUyzdw">https://www.youtube.com/watch?v=nVes6OUyzdw</a>). This allows us to reuse a lot of assets and have a lot of customization option.<img src="https://storagefiles.clo-set.com/public/community/202501/5ea73f5d40b649288c6468191cdd7b53/images/1694588cfd8b4c35a6c1814800815bb2d0872e4adac945d0bf249b37dd285e6a.png" class="custom-image original-size" data-id="1694588cfd8b4c35a6c1814800815bb2" data-width="2512" data-height="1638"><h1>3. What is Marvelous Designer’s strong point to use?</h1>A way better structured and intuitive workflow, which results in high-quality assets/clothes. Another obvious point is the realistic folds and the very good reusability of garments across projects. Just pushing and pulling the garment during the simulation creates a completely different model from the same patterns. Personally I wouldn't want to work with any other tool than Marvelous Designer.<hr>by&nbsp;ENCURIOLink to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.encurio.com/">ENCURIO&nbsp;official website</a>Link to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.faith-and-honour.com/">FAITH &amp; HONOUR: BARBAROSSA official website</a>Link to&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/faithandhonour/">Facebook</a>Link to&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/faithandhonour/">Instagram</a>

FAITH & HONOUR: BARBAROSSA

<img src="https://storagefiles.clo-set.com/public/community/202601/26b126b0f5374141854d4489e6cca13c/images/ffbb4fe87ae94ee2b737fafe0bb8b29bWomen%E2%80%99s%20Dress%20Cut-and-Sew%203D%20Clothing%20%E2%80%93%20Editable%20Fashion%20Garment%20for%20CLO3D%20%26%20Marvelous%20Designer%20%282%29.png" alt="ffbb4fe87ae94ee2b737fafe0bb8b29b" class="custom-image original-size" data-id="ffbb4fe87ae94ee2b737fafe0bb8b29b" data-width="1000" data-height="1000">womens asymmetric dress. 100 % Rigged Model Lowpoly. Very High Quality Rendered. Made By Clo Standlone. This model has a low polycount . Includes various formats with realistic Wash effect textures and normal map. With Exotic texture you will see the wash effect on the body.** 2d CAD also provided. Ready Pattern for make actual product.** It can be used for animations, video games, WebGL, VR/AR, VFX, Obj, Presentation. Provided File Formats are Dxf, OBJ, FBX, Zprj, AI, Gltf, xml, mcx . Let me know if any support required in comment box.

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<h2 style="text-align: center">3D artist A Miao brings the iconic Peaky Blinders character to life using Marvelous Designer, blending historical fashion research with advanced cloth simulation to capture Shelby’s signature style and presence.</h2><hr><h1 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/d4e9c3bfed4d402ab2221047bf1977cb6.jpg" alt="d4e9c3bfed4d402ab2221047bf1977cb" class="custom-image original-size" data-id="d4e9c3bfed4d402ab2221047bf1977cb" data-width="4000" data-height="4000">Interview with A Miao | <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/wryA6X">Tommy Shelby</a> | 3D character designer</h1><hr><h1>Could you please introduce yourself to the Marvelous Designer community?</h1>Hi everyone! I’m A Miao, a 3D character designer from Chengdu. Right now, I’m working as a topology artist, and when I’m not modeling, I love riding my bike. I really enjoy the whole modeling process—it’s amazing to see something go from nothing to exactly what I imagined. My go-to phrase is: “(/≧▽≦)/~ Good Job!”Super excited to be here and share my story with you!<h1>Why did you choose Tommy Shelby as the inspiration for your work? Is there a story behind it?</h1>I was hanging out at a friend’s place when I stumbled upon the show. The moment Tommy Shelby appeared on screen, I was hooked. He’s deep, a bit melancholic, super stylish, sharp, and full of contradictions. He’s doing all these dark, dangerous things, but still looks like a total gentleman. That contrast really got to me—I couldn’t stop thinking about it. And then I thought: I’ve got to make him in 3D!<img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/a581c18e12f54bce9e135f54e02f4af17.jpg" alt="a581c18e12f54bce9e135f54e02f4af1" class="custom-image original-size" data-id="a581c18e12f54bce9e135f54e02f4af1" data-width="7493" data-height="4000"><h1>How did Marvelous Designer contribute to your clothing design process? What unique advantages did it offer?</h1>Most of the asset is made up of cloth, so I spent a good chunk of the early phase working in Marvelous Designer. I started by digging up references—outfits Tommy Shelby wore in the show, plus fashion styles from that era. Then I built the clothes in a T-pose to nail down the silhouette and vibe.<img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/9e034d8fbeb64408807cb5719a01a451md_a%20pose.png" alt="9e034d8fbeb64408807cb5719a01a451" class="custom-image original-size" data-id="9e034d8fbeb64408807cb5719a01a451" data-width="2416" data-height="1864">After that, I posed the base model in ZBrush and brought it back into MD to simulate the wrinkles more accurately. The latest MD update with GPU simulation that matches CPU results was a game-changer—it made everything run smoother and helped me stay in the creative flow. Also, the new collision improvements made dealing with garment intersections way less frustrating, so I could really focus on the fun part: making cool stuff!<img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/263ada047b6546f1965d7fba77a7a1eebahou1.png" alt="263ada047b6546f1965d7fba77a7a1ee" class="custom-image original-size" data-id="263ada047b6546f1965d7fba77a7a1ee" data-width="3747" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/d20e4a649c784bcb9222a7f2b7c2d83ebahou2.png" alt="d20e4a649c784bcb9222a7f2b7c2d83e" class="custom-image original-size" data-id="d20e4a649c784bcb9222a7f2b7c2d83e" data-width="3747" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/5ef7f7f3d9534f24be143814c3373c0c4%20.jpg" alt="5ef7f7f3d9534f24be143814c3373c0c" class="custom-image original-size" data-id="5ef7f7f3d9534f24be143814c3373c0c" data-width="8049" data-height="4000"><h1 style="text-align: justify">What were the key details you focused on when recreating Tommy Shelby’s signature suit and coat?</h1>The most critical aspects were the garment structure and the silhouette. It was important to convey a sense of sharpness and formality in the overall shape. Additionally, I paid close attention to the fabric behavior—specifically, differentiating the wrinkle characteristics between the overcoat and the suit. Each material needed to express its unique texture and weight to reflect the authenticity of the original design.<img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/f22be58dc5954f23b083b73e95282a045.jpg" alt="f22be58dc5954f23b083b73e95282a04" class="custom-image original-size" data-id="f22be58dc5954f23b083b73e95282a04" data-width="4000" data-height="4000"><h1>Did you encounter any challenges during the creative process? How did you overcome them?</h1>Yeah, one tricky part was trying to make Tommy’s coat look like it was flowing—kind of giving him that cool, effortless vibe. I tried using wind controller setting, but they were super unpredictable and didn’t give me the folds I wanted.So I came up with a workaround: I added a hidden structure under the coat to fake the wind effect. It was like “pinning” the wind in place, and then I could shape the folds exactly how I wanted. It worked out way better and gave me full control over the look.<img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/53bbc6c2b94f4da5ba788eb5eeb6d35dmd_pose.png" alt="53bbc6c2b94f4da5ba788eb5eeb6d35d" class="custom-image original-size" data-id="53bbc6c2b94f4da5ba788eb5eeb6d35d" data-width="2404" data-height="1863"><h1>Any advice for other artists who want to use Marvelous Designer?</h1>The GPU simulation in the newer versions of MD is awesome—it gives the same results as CPU but way faster, which really helps speed things up.Also, don’t overlook the Layer feature, It’s super handy for avoiding those annoying pattern&nbsp; intersections. And the Adhesive Lining tool? Super useful! I used it on the hat in this project to get that realistic, structured look, and you can even pick different lining materials. Once you get the hang of these tools, your workflow becomes way smoother.<img src="https://storagefiles.clo-set.com/public/community/202507/5773e0c65ef1488299d675f6c6b51489/images/21a173e303e342a5ab0a4e754e596d812.1.jpg" alt="21a173e303e342a5ab0a4e754e596d81" class="custom-image original-size" data-id="21a173e303e342a5ab0a4e754e596d81" data-width="2500" data-height="4000"><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/a_miao">Artstation</a>

Recreating Tommy Shelby in 3D: A Tribute in Cloth and Character

<h2 style="text-align: center">✨ Blending tradition and future: Tony Zhou reimagines Guan Yu with cyberpunk aesthetics using Marvelous Designer. A fusion of history and innovation! ✨</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/e957b94cbc124b2aa9fa9fed1324b7d8%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%901.png" class="custom-image original-size" data-id="e957b94cbc124b2aa9fa9fed1324b7d8" data-width="1820" data-height="2048"><h1 style="text-align: center">Interview with Tony Zhou| <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/XJJRoY">Traveller</a> | 3D Artist</h1><hr><h1>Could you please introduce yourself to the Marvelous Designer community members?</h1>Hi, my name is Zhou Deming, a senior game character artist from China with ten years of experience in game development. In my free time, I like to delve into new creative workflows and pursue personal projects. I am currently employed at NetEase Gaming, leading the character development for Destiny Rising.<h1>Tell us about the project. What inspired you? Is there a particular story or setting behind it?</h1>This project draws inspiration from blending traditional Chinese historical characters with contemporary game character design, exploring a creative fusion of the contrasting worlds of the Three Kingdoms period and the cyberpunk aesthetic.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/4ad72152c27643ce8d7ae29f076a2e26%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%902.png" class="custom-image original-size" data-id="4ad72152c27643ce8d7ae29f076a2e26" data-width="1820" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/1a2bd08f779746eba2018dbc198aed3f4.jpg" class="custom-image original-size" data-id="1a2bd08f779746eba2018dbc198aed3f" data-width="2667" data-height="2886"><h1>As a traditional Chinese historical figure, Guan Yu represents classical culture, while cyberpunk embodies a futuristic aesthetic. How did you approach blending these traditional cultural elements with futuristic technology in your creation? How did Marvelous Designer contribute to this integration?</h1>To prepare for this creation, I researched a wide range of literary works about Guan Yu, as well as his depictions in modern films, TV shows, and games. I also studied many cyberpunk-style art pieces. From these sources, I distilled elements such as costume structures and color schemes to craft the preliminary design.Marvelous Designer played a crucial role in experimenting with various clothing styles during the early design phase. Unlike revising 2D drafts, using a 3D platform allowed for real-time adjustments and a more intuitive visualization of designs, greatly enhancing efficiency and facilitating early-stage adjustments.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/d00ca31ac20348dc906070c39b84db4d1.jpg" class="custom-image original-size" data-id="d00ca31ac20348dc906070c39b84db4d" data-width="2500" data-height="1419"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/3a21eb134b9948f9bf0f0effb7dc5846%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%90%E6%A8%AA%E7%89%88.png" class="custom-image original-size" data-id="3a21eb134b9948f9bf0f0effb7dc5846" data-width="2048" data-height="1152"><h1>The metallic finish and aerodynamic design of the character’s coat are remarkable! What techniques did you use to achieve this fabric effect?</h1>While refining the design drafts, a preliminary plan for the colors and materials of the garments had already been established. The proportions of fabrics, leather, technological materials, and hard surfaces were continuously adjusted and polished during the subsequent modeling process to achieve a more harmonious visual effect. The segmentation of lines was evaluated by switching between A-pose and T-pose to observe whether the desired outcome was achieved. The texture of the fabrics was created using Substance Painter.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b773c858cdf245118f008c879a3d24286.jpg" class="custom-image original-size" data-id="b773c858cdf245118f008c879a3d2428" data-width="4500" data-height="1957"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b95d4868fdf7485f8e2edd52180201a810.jpg" class="custom-image original-size" data-id="b95d4868fdf7485f8e2edd52180201a8" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/b1f865ea53244734a234fa579f7561c2%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E7%B4%A0%E6%9D%903.png" class="custom-image original-size" data-id="b1f865ea53244734a234fa579f7561c2" data-width="1820" data-height="2048"><h1>Can you give us a quick overview of the different tools used in your pipeline?</h1>In the early stages of the project workflow, ZBrush and Marvelous Designer were primarily used for the modeling phase, iteratively refining the character during the high-poly stage. Maya and Marmoset were then employed to complete the low-poly modeling and baking process. Finally, textures were created in Substance Painter, and the final rendering was completed in Marmoset.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/6a19541bb6514daf8b13c09aeff528549.jpg" class="custom-image original-size" data-id="6a19541bb6514daf8b13c09aeff52854" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/49d0969076cc460097c42dcedca4568612.png" class="custom-image original-size" data-id="49d0969076cc460097c42dcedca45686" data-width="3840" data-height="2160"><h1>What challenges did you face during the creation process, and how did you overcome them?</h1>The biggest challenges during the entire creative process were related to the overall design, such as character styling, similarities between designs, and making sure the characters felt cohesive. Revisions to the characters were ongoing throughout the process. For example, I kept going back and forth on whether the jacket should be a long coat or a short one, and how much hard surface detailing to include. If something didn’t look right, I’d just scrap it and start over. Even during the final texturing stage, I noticed the jacket’s structure felt a bit lacking, so I went back to the modeling phase to strengthen it. It was a constant cycle of questioning and refining until I reached a result I was truly happy with.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/91095a95b937457fbf49c3768d32760911.jpg" class="custom-image original-size" data-id="91095a95b937457fbf49c3768d327609" data-width="3840" data-height="2160"><h1>Are there any tips and tricks with Marvelous Designer that you can share with the community?</h1>Some Tips and Tricks I Used During Production When it comes to getting better fabric effects, it’s not just about having the right patterns or fabric settings. Fixed pins can be super helpful for simulations! By placing them in specific spots and tweaking their positions, you can often get some surprising and creative results. On top of that, playing with the folding angles of internal lines can create different folds, adding a lot of texture and depth to the fabric details.<img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/1786e6e508cc4bb1b8685db5e533f687%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E8%A1%A5%E5%85%85%E5%9B%BE2.jpg" class="custom-image original-size" data-id="1786e6e508cc4bb1b8685db5e533f687" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202501/8e8236365f564352a7286490de31b860/images/4c89ae1829e445f99877b150c3d2ed3b%E8%B5%9B%E5%8D%9A%E5%85%B3%E7%BE%BD%E8%A1%A5%E5%85%85%E5%9B%BE.jpg" class="custom-image original-size" data-id="4c89ae1829e445f99877b150c3d2ed3b" data-width="2276" data-height="1280"><h1>How would you describe your overall experience using Marvelous Designer?</h1>Marvelous Designer’s UI is getting more intuitive and user-friendly, making it easy for both seasoned users and newcomers to pick up the basics quickly. The latest updates bring a big boost to GPU simulation accuracy, and the simulation speed is noticeably faster now. Trim simulations with collision are also much more precise, which makes things a lot more convenient for character artists.<h1></h1><h1>by Tony Zhou</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ironman">Artstation</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5b20a79a6b58b77865652b93?channelType=web_engagement_notification_page&amp;channelTabId=connections&amp;xsec_token=ABdDteyn-afbgKbKVrUPA8IvVQqiWp5BE0rJzUhZ3SmI0%3D&amp;xsec_source=pc_notice">Redbook (Xiaohongshu)</a>

Traveller - Cyberpunk Guan Yu

Motion

<img src="https://storagefiles.clo-set.com/public/community/202507/7430fbc01cf7411a8622cf018204fc5a/images/4528cf5a7c7748bb96e5a2346cc69412image.png" alt="4528cf5a7c7748bb96e5a2346cc69412" class="custom-image original-size" data-id="4528cf5a7c7748bb96e5a2346cc69412" data-width="1918" data-height="1016">When I try to do Symmetric Arrangement I get this error?Why? How can I fix It?

Symmetric Arrangement Error

Stylized Concept Art Meets 3D: How Marvelous Designer Enhances Illustration in Civilization 7

Marvelous Designer Official

Marvelous Designer Official