<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/2ea7d43a550b49e78eb56e3b1f410297/images/d16c33ee095946d1b937f04d0cf2c40a47e29f2618524e05ba7d38f6d44d03b3Capture%284%29.png" class="custom-image hidden-thumbnail" data-id="d16c33ee095946d1b937f04d0cf2c40a" data-width="1147" data-height="717"><span style="font-family: &quot;Times new roman&quot;"><em>3D artist Soohwan pushes the boundaries of virtual garments by layering sophisticated AI textures from 'Nano-banana' onto Marvelous Designer’s realistic geometry. Discover his smart, practical pipeline that flips the traditional UV workflow to maximize both efficiency and high-fidelity quality.</em></span></h2><p style="text-align: center"><strong>Discover the work and expert Marvelous Designer tips of Soohwan Oh in this exclusive series! [</strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/community/post/4caba29455c442e1b0087639cd5190ac"><strong>Go to Previous Post]</strong></a></p><p style="text-align: center"></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/wwMShaE93jY?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: left"><strong>How much creative flexibility does Marvelous Designer (MD) provide when working on original characters without restrictions? We’d love to know how MD influences the conceptualization and fleshing out of ideas during the initial design phase.</strong></h1><p style="text-align: left">Of course, before diving into production, we always establish the direction during the planning phase—deciding what kind of garments to create and what elements to include—before launching Marvelous Designer. However, since we are crafting digital-based clothing, we often end up adding artistic interpretations and creativity rather than just stopping at a realistic replication. In that process, garments are frequently completed in a way that is more evolved or slightly different in direction from the initial concept.</p><p>In particular, during the garment creation process, adjusting pattern measurements, fabric physical properties, and settings like Particle Distance, weight, and pressure can create entirely different silhouettes and styles from the exact same pattern. Thanks to these characteristics, my ideas naturally expanded during the workflow, and I experienced the project concepts becoming increasingly concrete and fleshed out.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/0b2b155dd5d84a488f7d94dd0d51b114Capture.png" alt="0b2b155dd5d84a488f7d94dd0d51b114" class="custom-image original-size" data-id="0b2b155dd5d84a488f7d94dd0d51b114" data-width="3840" data-height="2088"></p><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/177f55c4059c4b38bfc481031d639b13%E1%84%86%E1%85%AE%E1%86%AF%E1%84%89%E1%85%A5%E1%86%BC.png" alt="177f55c4059c4b38bfc481031d639b13" class="custom-image original-size" data-id="177f55c4059c4b38bfc481031d639b13" data-width="1123" data-height="4353"></p><h1><strong>There is a growing body of research on workflows utilizing AI tools. You also applied textures created with 'Nano-banana' to MD garments. What kind of synergy did you experience when those sophisticated textures met MD’s realistic geometry and wrinkles?</strong></h1><p>I believe that texturing with AI tools offers massive advantages in terms of both fine detail and time efficiency. This is especially true for garments with intricate patchwork or designs where graphics play a key role; in the past, because we had to manually paint these in Photoshop, it was a heavy time burden, or we often had to opt for simpler designs instead. However, by leveraging AI, the burden of this graphic work has been significantly reduced, allowing me to enjoy making a wider variety of creative attempts.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/78c20b441b9645dd83c267f279e7edcfPatch_v01_1.png" alt="78c20b441b9645dd83c267f279e7edcf" class="custom-image original-size" data-id="78c20b441b9645dd83c267f279e7edcf" data-width="2048" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/2a4f40c5a3854757a751ca0e79d69649Patch_v01_2.png" alt="2a4f40c5a3854757a751ca0e79d69649" class="custom-image original-size" data-id="2a4f40c5a3854757a751ca0e79d69649" data-width="2048" data-height="2048">When these high-quality textures are applied to garments made in Marvelous Designer, they lock in perfectly with the generated wrinkles and geometry, delivering a much more convincing and realistic result. It doesn't just feel like a flat graphic anymore; because the texture responds naturally on top of a three-dimensional form, I felt the overall quality and polish of the asset was elevated to the next level.</p><p>Additionally, I utilize a workflow where I take the UV layout exported from Marvelous Designer, input the desired style into an AI tool like Nano-banana, and generate the textures. This workflow has vastly improved the efficiency of the texturing process, and as a result, I believe it has enabled a much faster, higher-quality pipeline.</p><h1><strong>What is your personal pipeline tip for maintaining high quality while optimizing high-resolution textures and Marvelous Designer (MD) data?</strong></h1><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/47e29f2618524e05ba7d38f6d44d03b3Capture%284%29.png" alt="47e29f2618524e05ba7d38f6d44d03b3" class="custom-image original-size" data-id="47e29f2618524e05ba7d38f6d44d03b3" data-width="1147" data-height="1654"></p><p>To be honest, rather than relying on a unique or special pipeline, I tend to take a more practical approach to my workflow. First, after fully finalizing the garment design and pattern work, I don’t jump straight into organizing the UVs. Instead, I use MD’s 2D Pattern Graphic feature to preview the textures or graphics created via Nano-banana first, allowing me to check the overall look and feel.</p><p>The reason I hold off on organizing the UVs is that if the patterns get modified during the process, I would have to redo the UVs all over again. Therefore, I use AI during the design phase to quickly test out textures, and only when I feel the direction of the garment is fully locked in do I clean up the UV layout.</p><p>Rather than the pipeline itself drastically changing since adopting AI, I feel that the overall workflow speed and efficiency have significantly improved because I can now visualize and iterate on the desired results much faster.</p><p></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/soohwan_art"><strong>Behance</strong></a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/ohso0hwan"><strong>Instagram</strong></a></p><p></p><h1><strong><em>Stay tuned for our special series featuring Su-hwan Oh’s diverse portfolio and his expert Marvelous Designer know-how!</em></strong></h1><p></p>

The Convergence of Originality and Technology: Original Characters and Nano-banana

MV2 AlpineHiking Insulation Zip-Up Jacket

oregan.ryan

<p>I have an old PC.</p><p></p><p>What settings do you suggest for speeding the CLO3D App?</p><p></p><p></p><p><strong>My Laptop Specs (Asus N552VW):</strong></p><ul><li><p><strong>CPU:</strong> Intel Core i7-6700HQ (4 cores / 8 threads, 2.6 GHz base – 3.5 GHz turbo)</p></li><li><p><strong>GPU:</strong> NVIDIA GeForce GTX 960M (2 GB GDDR5 VRAM)</p></li><li><p><strong>RAM:</strong> 16 GB DDR4 (Upgradable to 32 GB)</p></li><li><p><strong>Storage:</strong> 500 GB SSD + 1 TB HDD</p></li><li><p><strong>OS:</strong> Windows 11 64-bit</p></li></ul><p></p><p></p><p></p>

Settings For Low Spec PC

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

Tops

Conceptual Design Category

<p><img src="https://storagefiles.clo-set.com/public/community/202606/2ea7d43a550b49e78eb56e3b1f410297/images/d16c33ee095946d1b937f04d0cf2c40a47e29f2618524e05ba7d38f6d44d03b3Capture%284%29.png" class="custom-image hidden-thumbnail" data-id="d16c33ee095946d1b937f04d0cf2c40a" data-width="1147" data-height="717"></p><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>3D 아티스트 오수환님은 마블러스 디자이너의 사실적인 주름(Geometry) 위에 AI 툴 ‘나노바나나’의 정교한 텍스처를 얹어 디지털 의상의 한계를 깨뜨립니다. 번거로운 UV 작업 순서를 뒤바꾼 그만의 실용적인 파이프라인으로, 퀄리티와 효율성을 모두 잡은 스마트한 워크플로우 비하인드를 지금 만나보세요.</em></span></h2><p style="text-align: center"><strong>오수환 아티스트의 작품과 마블러스 디자이너 활용 비법,</strong></p><p style="text-align: center"><strong>이번 익스클루시브 시리즈에서 확인하세요!</strong></p><p style="text-align: center"><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/ko/community/post/4caba29455c442e1b0087639cd5190ac"><strong>이전 포스트 보기</strong></a></p><p style="text-align: center"></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/wwMShaE93jY?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: left"><strong>제약 없는 오리지널 캐릭터 작업에서 MD가 제공하는 창작의 유연성은 어느 정도인가요? 디자인 구상 단계에서 MD가 아이디어 구체화에 어떤 영향을 주는지 궁금합니다.</strong></h1><p style="text-align: left">물론 제작에 들어가기 전, 기획 단계에서 어떤 의복을 만들고 어떤 요소를 담을지에 대한 방향을 먼저 설정한 뒤 마블러스 디자이너 작업을 시작합니다. 다만 디지털 기반의 의류를 제작하다 보니, 단순히 현실적인 구현에 그치기보다는 아티스트 적인 해석과 창의성을 더하게 되는 경우가 많습니다. 그 과정에서 초기 기획보다 더 발전되거나, 방향성이 조금 달라진 형태로 의상이 완성되기도 합니다.</p><p>특히 의상을 제작하는 과정에서 패턴의 수치나 원단의 물성 값, 그리고 Particle Distance, 무게, 압력 등의 설정에 따라 동일한 패턴이라도 전혀 다른 실루엣과 스타일을 만들어낼 수 있습니다. 이러한 특성 덕분에 작업을 진행하면서 자연스럽게 아이디어가 확장되고, 기획이 점점 더 구체화되는 경험을 할 수 있었습니다.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/0b2b155dd5d84a488f7d94dd0d51b114Capture.png" alt="0b2b155dd5d84a488f7d94dd0d51b114" class="custom-image original-size" data-id="0b2b155dd5d84a488f7d94dd0d51b114" data-width="3840" data-height="2088"></p><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/177f55c4059c4b38bfc481031d639b13%E1%84%86%E1%85%AE%E1%86%AF%E1%84%89%E1%85%A5%E1%86%BC.png" alt="177f55c4059c4b38bfc481031d639b13" class="custom-image original-size" data-id="177f55c4059c4b38bfc481031d639b13" data-width="1123" data-height="4353"></p><h1><strong>AI툴을 활용한 작업에 대한 연구들이 많아지고 있습니다. 수환님도 '나노바나나'로 제작한 텍스처를 MD 의상에 적용하셨는데, 정교한 텍스처가 MD의 사실적인 주름(Geometry)과 만났을 때 어떤 시너지가 발생했나요?</strong></h1><p>AI 툴을 활용한 텍스처 작업은 디테일과 시간 효율 측면에서 큰 이점을 준다고 생각합니다. 특히 여러 패치워크가 들어가는 의류나 그래픽이 중요한 요소로 작용하는 디자인의 경우, 과거에는 포토샵으로 직접 작업해야 했기 때문에 시간 부담이 크거나 아예 단순한 디자인을 선택하는 경우도 많았습니다. 하지만 AI를 활용하면서 이러한 그래픽 작업에 대한 부담이 크게 줄어들었고, 오히려 더 다양한 시도를 하면서 재미를 느낄 수 있게 되었습니다.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/78c20b441b9645dd83c267f279e7edcfPatch_v01_1.png" alt="78c20b441b9645dd83c267f279e7edcf" class="custom-image original-size" data-id="78c20b441b9645dd83c267f279e7edcf" data-width="2048" data-height="2048"><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/2a4f40c5a3854757a751ca0e79d69649Patch_v01_2.png" alt="2a4f40c5a3854757a751ca0e79d69649" class="custom-image original-size" data-id="2a4f40c5a3854757a751ca0e79d69649" data-width="2048" data-height="2048">이렇게 제작된 고퀄리티 텍스처를 마블러스 디자이너로 만든 의상에 적용하면, 실제로 생성된 주름과 지오메트리와 맞물리면서 더욱 설득력 있는 결과를 만들어낼 수 있습니다. 단순히 평면적인 그래픽이 아니라, 입체적인 형태 위에서 자연스럽게 반응하는 텍스처가 더해지면서 전체적인 완성도가 한층 올라간다고 느꼈습니다.</p><p>또한 마블러스 디자이너에서 추출한 UV 레이아웃을 기반으로, 나노바나나와 같은 AI 툴에 원하는 스타일을 입력해 텍스처를 생성하는 방식도 활용하고 있습니다. 이러한 워크플로우를 통해 텍스처 제작 과정의 효율이 크게 향상되었고, 결과적으로 더 빠르고 높은 퀄리티의 작업이 가능해졌다고 생각합니다.</p><h1><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/8cdde4a6508144879e63877d3d0d36e7Patch_v02_2.png" alt="8cdde4a6508144879e63877d3d0d36e7" class="custom-image original-size" data-id="8cdde4a6508144879e63877d3d0d36e7" data-width="2048" data-height="2048"><strong>고해상도 텍스처 작업물과 MD 데이터를 최적화하면서도 퀄리티를 유지하는 본인만의 파이프라인 팁이 있다면 무엇인가요?</strong></h1><p><img src="https://storagefiles.clo-set.com/public/community/202605/2ea7d43a550b49e78eb56e3b1f410297/images/47e29f2618524e05ba7d38f6d44d03b3Capture%284%29.png" alt="47e29f2618524e05ba7d38f6d44d03b3" class="custom-image original-size" data-id="47e29f2618524e05ba7d38f6d44d03b3" data-width="1147" data-height="1654"></p><p>사실 특별한 파이프라인이기 보다는, 작업을 조금 더 실용적으로 가져가는 편입니다. 우선 의류 디자인과 패턴 작업을 충분히 마무리한 뒤, 바로 UV를 정리하기보다는 나노바나나로 제작한 텍스처나 그래픽을 마블러스 디자이너의 2D 패턴 그래픽 기능을 통해 먼저 적용해보면서 전체적인 인상을 확인합니다.</p><p>UV를 먼저 정리하지 않는 이유는, 작업 과정에서 패턴이 수정되면 UV를 다시 정리해야 하는 경우가 생기기 때문입니다. 그래서 디자인 단계에서 AI를 활용해 빠르게 텍스처를 테스트하고, 의상의 방향성이 충분히 확정되었다고 판단되는 시점에서 UV 레이아웃을 정리하는 방식으로 작업하고 있습니다.</p><p>AI 도입 이후 파이프라인 자체가 크게 바뀌었다 보다는, 원하는 결과를 더 빠르게 확인하고 수정할 수 있게 되면서 전체적인 작업 속도와 효율이 높아졌다고 느끼고 있습니다.</p><p></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/soohwan_art"><strong>Behance</strong></a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/ohso0hwan"><strong>Instagram</strong></a></p><p></p><h1><strong><em>수환님의 감각적인 작품들과 마블러스 디자이너 활용 노하우를 특별 시리즈로 만나보세요!</em></strong></h1><p></p>

독창성과 기술의 융합: 오리지널 캐릭터와 나노바나나(Nano-banana)

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>3D artist </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/gallery/246698533/Dunes-of-Steel-Cinematic-Environment-Design"><span style="font-family: &quot;Times new roman&quot;"><em>Konstantin Batishchev</em></span></a><span style="font-family: &quot;Times new roman&quot;"><em> takes us to a desolate desert planet where massive industrial structures rise from the dunes, driven by mysterious underground mechanisms. Discover how he pushed his technical workflow to the limit to transform a raw concept into a polished, high-fidelity cinematic masterpiece.</em></span></h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/z7TP8F4HwX4?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><strong>Software Used</strong></h1><p>Cinema 4D – Modeling, animation<br>Cascadeur - Character animation<br>Marvelous Designer – Cloth Simulation&nbsp;<br>Substance Painter – Texturing<br>Octane Render – Lighting &amp; Rendering<br>Embergen - smoke simulation<br>After Effects - Post-Production</p><h1><br><strong>Artist Introduction</strong></h1><p>Hi, I’m a Motion Designer with over 10 years of experience working in 2D and 3D animation. I focus mostly on creating visuals for branding, product videos, and storytelling. In my work, I usually handle the whole process - from the initial idea and look development to animation, simulations, rendering, and final compositing.</p><p>I especially enjoy working on cinematics and character animation, so in both personal and commercial projects I focus on building a story and finding the best way to visualize it.</p><p>I work with tools like Cinema 4D, Unreal Engine, Marvelous Designer, After Effects, Blender, and Substance Painter, depending on the needs of the project.</p><h1><strong>Please introduce your project.&nbsp;</strong></h1><p><em>Dunes of Steel</em> is my personal project, where I challenged myself to create a large environment, a desert atmosphere, and a sci-fi story about a character trying to sneak into the center of a city — a huge burning crater.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/d8a9055ec9c8479d8c1486013ab74c01City_Shot1_00111.png" alt="d8a9055ec9c8479d8c1486013ab74c01" class="custom-image original-size" data-id="d8a9055ec9c8479d8c1486013ab74c01" data-width="1920" data-height="1080">The city design and its materials, especially the pipes, show that this is an industrial city that depends on the crater.</p><p>I really enjoyed working on the details and textures. It was important for me to show the scale of the environment and how sand and heat affect the materials.</p><p>I started by choosing a music track, which I used as a base for the animation and editing. The rhythm of the track shaped the whole pacing of the video.</p><p>The project took me about a month from idea to final render, which surprised me — usually my personal projects take much longer.</p><p>There is also a lot of compositing in this project. Elements like smoke were simulated and rendered in Embergen, then composited in After Effects.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/7453b8d9dddc440cb6e6087994ccc8f7Dunes%20of%20Steel.png" alt="7453b8d9dddc440cb6e6087994ccc8f7" class="custom-image original-size" data-id="7453b8d9dddc440cb6e6087994ccc8f7" data-width="1920" data-height="1080"></p><h1><strong>Tell us how Marvelous Designer creates value in this project.&nbsp;</strong></h1><p>For <em>Dunes of Steel</em>, cloth simulation plays a key role - it’s a visual focus on the character that adds complexity and creates a strong contrast against the metallic environment.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/9fbba222bd0e49d498897f66e1c97915Process.gif" alt="9fbba222bd0e49d498897f66e1c97915" class="custom-image original-size" data-id="9fbba222bd0e49d498897f66e1c97915" data-width="698" data-height="348"><br>In fact, improving my cloth simulation skills was one of the main reasons I started this project. Most of the scenes were created in Marvelous Designer, except for the final shot where the cloak is dropped - that simulation was done in Cinema 4D, since I needed more precise and flexible control over the cloth movement.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/94cpPzT7vWI?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><p><br>In most of the cloth simulations, there were no issues because the movements were smooth and natural.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/65708e6e70054843a941dc2f55b6be42jump-1.jpg" alt="65708e6e70054843a941dc2f55b6be42" class="custom-image medium-size" data-id="65708e6e70054843a941dc2f55b6be42" data-width="1395" data-height="693"><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/0caf358ce99b412495127eadeb8305d5Run.gif" alt="0caf358ce99b412495127eadeb8305d5" class="custom-image medium-size" data-id="0caf358ce99b412495127eadeb8305d5" data-width="698" data-height="349"><br>The difficulties started in the landing scene. In this case, I needed to art direct the cloth simulation so that it wouldn’t just look realistic, but also look visually appealing.</p><p>In the first example, I only use Time Warp, but the wind is too weak, so I’m not satisfied with the result.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/624b6735be63462083d69d4db81c66b4time-1.jpg" alt="624b6735be63462083d69d4db81c66b4" class="custom-image medium-size" data-id="624b6735be63462083d69d4db81c66b4" data-width="1396" data-height="689"><br>In the next example, I increase the wind strength, but I don’t start the simulation from the very beginning. This is a very convenient workflow. The cloth movement during the character’s flight already looks good to me, so I continue the simulation starting from the landing moment. The result is better, but I still don’t like how the cloth behaves.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/7304cbc6e2e14a0a92d26a36f118e605time-2.jpg" alt="7304cbc6e2e14a0a92d26a36f118e605" class="custom-image medium-size" data-id="7304cbc6e2e14a0a92d26a36f118e605" data-width="1392" data-height="695"><br>Then I increase <strong>air damping</strong>. Because of that, when the character moves in slow motion, the cloth also behaves like it’s in slow motion. But it still doesn’t fall to the ground properly because the wind and air resistance are stronger.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/72673e3fd12641a0809e19c127948eb8air-1.jpg" alt="72673e3fd12641a0809e19c127948eb8" class="custom-image medium-size" data-id="72673e3fd12641a0809e19c127948eb8" data-width="1393" data-height="688"><br>In the final version, I increase gravity, and the cloth finally moves the way I want. This way, I was able to control the simulation, and it looks very realistic at normal speed.&nbsp;</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/ec47e4f73fb843829354f7f69ae157cfLanding_4.gif" alt="ec47e4f73fb843829354f7f69ae157cf" class="custom-image original-size" data-id="ec47e4f73fb843829354f7f69ae157cf" data-width="698" data-height="348"></p><h1><strong>What is your favorite feature or tool to use in Marvelous Designer?</strong></h1><p>I don’t have extensive experience with Marvelous Designer yet, so I’m probably not using it to its full potential.&nbsp;</p><p>What I like most is that making clothes feels just like in real life - you don’t have to fake seams, and you can tweak any part in real time to fit the character perfectly. I know it’s a pretty basic feature, but I really enjoy it 🙂</p><p></p><h1><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/be4e9e4310d947e8991ee6f60005fab21_Final.png" alt="be4e9e4310d947e8991ee6f60005fab2" class="custom-image original-size" data-id="be4e9e4310d947e8991ee6f60005fab2" data-width="2160" data-height="3840"><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/5b1e46ffd3fa4e01a9f4c6516c47640e2_Final.png" alt="5b1e46ffd3fa4e01a9f4c6516c47640e" class="custom-image original-size" data-id="5b1e46ffd3fa4e01a9f4c6516c47640e" data-width="2160" data-height="3840"><img src="https://storagefiles.clo-set.com/public/community/202605/6a24e7e458a448948d97f6bc8b998165/images/12ea29a348394edfb460a886b3b3a722cape%20render.png" alt="12ea29a348394edfb460a886b3b3a722" class="custom-image original-size" data-id="12ea29a348394edfb460a886b3b3a722" data-width="959" data-height="723"><br><strong>For other users considering Marvelous Designer for a cinematic project, do you have any advice or experience to share?&nbsp;</strong></h1><p></p><p>In my project, when simulating cloth, I used Time Warp. This is a key parameter that helps make the simulation more accurate. Animated characters often have fast movements, which can cause incorrect simulations because the distance between frames is too large, and the cloth can intersect with the object.</p><p>I also recommend experimenting with wind direction, wind strength, and gravity. These settings can really help you guide the cloth and get the motion you want.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/T-6BsPwfWWQ?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>

Dunes of Steel | 3D Cinematic Animation

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Bringing Stylized Yokai to Life: An Interview with </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/yaw_cg_md/"><span style="font-family: &quot;Times new roman&quot;"><em>Samuel Onyina</em></span></a><span style="font-family: &quot;Times new roman&quot;"><em>, Marvelous Award Winner of </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://createwithclint.com/community-challenges/12"><span style="font-family: &quot;Times new roman&quot;"><em>Pwnisher’s "Dream Sequence" Challenge</em></span></a></h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/7VyjLLpJEWA?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><strong>Software Used</strong></h1><p>Blender – Modeling<br>Marvelous Designer – Cloth Simulation &amp; Animation<br>Substance Painter – Texturing<br>Cycles (Blender) – Lighting &amp; Rendering</p><h1><strong>Artist Introduction</strong></h1><p>My name is Samuel Yaw Ampofo Onyina. Professionally, I am a physician based in Ghana. Alongside my medical career, I operate as a hobbyist 3D generalist under the social media moniker, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/yaw_cg_md/">yaw_cg_md</a>. I focus on character design and animation workflows to build compelling, narrative-driven visuals.</p><h1><strong>Please introduce your project.</strong></h1><p>This animation was my submission for the Dream Sequence 3D Community Challenge hosted by Pwnisher. The piece centers on a haunting, trance-like state, featuring a Yokai. The core objective was to build an atmosphere of eerie suspense.</p><h1><strong>The template for this contest was very open ended, what was your inspiration for your animation?</strong></h1><p>My inspiration stems heavily from Japanese mythological Yokai and "Kabuki-noir" as well as the work of the popular Malaysian artist, Zeen Chin. I wanted to capture the unsettling nature of a Yokai wraith who transforms the men who murdered her into marionettes that she now has control over as a form of revenge. The flowing, traditional-style robes were chosen deliberately because the way fabric drags, billows, and responds to a slow, deliberate walk cycle inherently adds drama and a surreal quality to the composition.</p><h1><strong>Tell us how Marvelous Designer creates value in this project.</strong></h1><p>Marvelous Designer is strictly necessary for grounding stylized characters in reality. In this project, the character wears a complex, multi-layered robe that interacts heavily with their limbs as they walk with outstretched arms. Hand-animating those folds or relying on standard 3D package cloth modifiers would not yield the necessary physical accuracy. I really did not have to do much to achieve the look I desired and it was genuinely a happy accident seeing how convincingly the sleeves slid down the Yokai’s arms. MD is such an amazing tool. I love it so much.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/56eOkP9ouE0?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><img src="https://storagefiles.clo-set.com/public/community/202605/5ebaca44c6c94cf38e8bb9f50c3af911/images/1c7e7ab2771c40c2aa8c2756cbe3c7a6Yokai5.png" alt="1c7e7ab2771c40c2aa8c2756cbe3c7a6" class="custom-image original-size" data-id="1c7e7ab2771c40c2aa8c2756cbe3c7a6" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202605/5ebaca44c6c94cf38e8bb9f50c3af911/images/1454501597984554968edb1e55d6485eRender1.png" alt="1454501597984554968edb1e55d6485e" class="custom-image original-size" data-id="1454501597984554968edb1e55d6485e" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202605/5ebaca44c6c94cf38e8bb9f50c3af911/images/6c18dcb620724aecbf572657a2857e8cFinal0011.png" alt="6c18dcb620724aecbf572657a2857e8c" class="custom-image original-size" data-id="6c18dcb620724aecbf572657a2857e8c" data-width="1920" data-height="1080"><br><strong>What is your favorite feature or tool to use in Marvelous Designer?</strong></h1><p><strong>Sewing</strong>, the <strong>animation Mode</strong> and the <strong>Alembic export pipeline</strong> are my primary tools. The solver's ability to handle complex layered collisions without intersecting, especially on loose, flowing garments like the robe in this sequence saves hours of manual corrective sculpting. I also love the UV editor. Although rudimentary, at the moment, it streamlines my process considerably. I no longer have to worry about unwrapping in blender and it allows me to jump into texturing quickly. Love that.</p><h1><strong>For other users considering Marvelous Designer, do you have any advice or experience to share?</strong></h1><p>Keep your workflow disciplined. Build your garments with a high particle distance initially to quickly block out the silhouette and test your sewing patterns. Only lower the particle distance to refine the micro-folds once you are ready for the final simulation cache. Additionally, ensure your base avatar's animation is completely clean and free of intersecting geometry before bringing it into Marvelous Designer; good cloth simulation relies entirely on clean collision data.</p><p>Also, don't forget that you can add extra detail in any sculpting program you’re comfortable in and bake the detail down into normal maps in substance 3d painter.</p>

The Convergence of Originality and Technology: Original Characters and Nano-banana

Marvelous Designer Official

Marvelous Designer Official