<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/6LDRQ4OR73g" 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><h2 style="text-align: center"><span style="font-family: Times new roman"><em>概念设计师睫毛 (Eyelashes) 来自中国，目前以自由概念设计外包与个人 IP 创作为主。他的作品常以 3D 流程推进，在完整的世界观搭建中寻找更鲜明的个人表达。</em></span></h2><h2 style="text-align: center"><span style="font-family: Times new roman"><em>在《Paradise Lost 失乐园》中，他将复古未来、旧贵族、庄园之下的禁忌之城、欲望与腐朽编织成一套完整的视觉叙事。华丽不再只是装饰，冷峻也不只是科幻质感；两者共同指向一个停滞在过去与未来夹缝中的世界。</em></span></h2><h2 style="text-align: center"><span style="font-family: Times new roman"><em>这一次，我们和睫毛聊了聊《失乐园》的灵感来源、视觉语言、角色服装设计，以及 Marvelous Designer 如何参与他的概念设计流程。</em></span></h2><hr><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/76f6ae0e3a92486880008e8cfe4d8574%E8%B4%B5%E6%97%8F%E6%BC%94%E5%87%BA%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1%E5%B1%95%E7%A4%BA.png" alt="76f6ae0e3a92486880008e8cfe4d8574" class="custom-image original-size" data-id="76f6ae0e3a92486880008e8cfe4d8574" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/c7d0c3359a60488ca5452025ebd38e4emd%E5%88%B6%E4%BD%9C%E7%9A%84%E5%9C%BA%E6%99%AF%E5%B8%83%E6%96%99%E7%AA%97%E5%B8%98.png" alt="c7d0c3359a60488ca5452025ebd38e4e" class="custom-image original-size" data-id="c7d0c3359a60488ca5452025ebd38e4e" data-width="3339" data-height="1440"></p><h1>可以先简单介绍一下您自己，以及目前主要关注的创作方向吗？</h1><p>睫毛：大家好，我是一名来自中国的自由概念设计师，大家可以叫我睫毛或 Eyelashes。</p><p>平时我主要从事概念设计外包，也会在空闲时间创作一些个人 IP。目前我的个人作品以 3D 流程为主，因为它能比较好地展现我的设计和想法。</p><p>现阶段，我会更关注以科幻为主的世界观创作。也希望未来能逐渐形成更加鲜明、完整的个人风格。</p><h1>《Paradise Lost 失乐园》的世界观非常完整。这个概念最初是从哪里开始的？</h1><p>睫毛：这个概念的想法很有趣。最早的灵感来自《大开眼戒》《圣山》和《2001：太空漫游》这几部电影，它们让我对复古科幻产生了兴趣。</p><p>《大开眼戒》中面具背后的隐秘欲望，《圣山》里癫狂而神圣的仪式感，以及《2001：太空漫游》中静默、惊悚的科幻气质，都和我想表达的主题很契合。</p><p>于是我把这些调性和自己的想法结合在一起：在一个复古未来的架空世界里，旧贵族沉湎于最后的荣光。罪恶与欲望浇筑于庄园之下，构筑出一座只供自身享乐的禁忌之城，代号“失乐园”。这个世界停滞在过去与未来的夹缝中，旧贵族早已腐朽，却依然沉迷于永不满足的贪婪与享乐。</p><p></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ae2efdb74116463aa7a2ee8d5fdc992ahongbin_scene3_optimized.png" alt="ae2efdb74116463aa7a2ee8d5fdc992a" class="custom-image original-size" data-id="ae2efdb74116463aa7a2ee8d5fdc992a" data-width="3339" data-height="2002"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/605b58b9ba634f639a497d0031913bc8%E7%BB%98%E7%94%BB%E8%8D%89%E5%9B%BE%20.png" alt="605b58b9ba634f639a497d0031913bc8" class="custom-image original-size" data-id="605b58b9ba634f639a497d0031913bc8" data-width="3218" data-height="1685"></p><h1>作品中既有旧贵族的华丽感，也有未来主义的冷峻气质。您是如何建立这套视觉语言的？</h1><p>睫毛：我翻阅了大量法国王室的配色档案。不只是寻找纹样，也很好奇权力如何在色彩中自我叙述。</p><p>凡尔赛宫的金色，是对光的垄断；王室的蓝色，则像一种被织进织物里的隐喻。而我要做的，是把这种历史语法翻译成未来主义的语言。</p><p>除了旧贵族服装中的蓝色封建感，我也加入了一些上世纪复古科技的元素，来表达“未来”。同时，为了方便后续拓展世界观，我刻意把视觉语言浓缩成一个可复制的设计公式：旧贵族王室符号 × 复古科技 × 构成主义。</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/d8555b953bec4ee0bcd30aa5ea5d8219%E5%A5%B3%E4%BB%86%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="d8555b953bec4ee0bcd30aa5ea5d8219" class="custom-image original-size" data-id="d8555b953bec4ee0bcd30aa5ea5d8219" data-width="2000" data-height="1862"></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/581dbef7357e4b84bc21486751665773%E5%85%AC%E7%88%B5%E5%92%8C%E8%B4%B5%E6%97%8F%E4%B9%8B%E5%A5%B3%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="581dbef7357e4b84bc21486751665773" class="custom-image original-size" data-id="581dbef7357e4b84bc21486751665773" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d62fdd9ed644d9bb2b2ccdaa1749fe9%E9%93%81%E5%BA%8F%E4%B9%8B%E7%8E%8B%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="5d62fdd9ed644d9bb2b2ccdaa1749fe9" class="custom-image original-size" data-id="5d62fdd9ed644d9bb2b2ccdaa1749fe9" data-width="2560" data-height="3265"></p><h1>这组作品里角色服装的身份感很强。设计廓形、材质和颜色时，您最想传达什么？</h1><p>睫毛：我最开始设想的是，希望用极简的轮廓表现角色的服装设计。这样既能让角色更有辨识度，也能服务于这个世界观的主题。</p><p>旧贵族的设计不只是“旧”，它也需要和现代时装秀里那种“新”的艺术感融合在一起，去表达这个世界停滞在过去与未来的夹缝中，并讽刺世界观里资本主义经济虚假的繁荣。</p><p>材质上，我选择了丝绸的贵族质感，结合未来感更细腻的布料材质，并用金丝做点缀。蓝色代表王室独有的颜色，黄色代表太阳崇拜，银色高光则把贵族气质与科技感结合起来。</p><p>在这个未来设定里，旧贵族不再需要复杂的纹章来宣示身份。他们只需要把自己“缩减”为颜色与形状。当一个时代的华丽被压缩到一块纯净的平面里，那种简洁本身就是最沉重的压迫。</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/85e050ea10f6460588b87b9ad25a937d%E8%A5%BF%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="85e050ea10f6460588b87b9ad25a937d" class="custom-image original-size" data-id="85e050ea10f6460588b87b9ad25a937d" data-width="3339" data-height="1440"></p><p></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ddb62c588f5a4b3ea5ae42ddb446f464%E8%B4%B5%E6%97%8F%E7%A6%81%E5%8D%AB%E5%86%9B%E4%BD%BF%E7%94%A8md%E7%BB%93%E5%90%88zb%E9%9B%95%E5%88%BB%E7%9A%84%E6%96%B9%E5%BC%8F%E8%AE%BE%E8%AE%A1.png" alt="ddb62c588f5a4b3ea5ae42ddb446f464" class="custom-image original-size" data-id="ddb62c588f5a4b3ea5ae42ddb446f464" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/82d735f3565d43099792f9da4c82a845%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="82d735f3565d43099792f9da4c82a845" class="custom-image original-size" data-id="82d735f3565d43099792f9da4c82a845" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d2391f0607448fb93426b1b5f935bc4%E8%A7%92%E8%89%B2%E5%B8%83%E6%96%99%E6%9D%90%E8%B4%A8.png" alt="5d2391f0607448fb93426b1b5f935bc4" class="custom-image original-size" data-id="5d2391f0607448fb93426b1b5f935bc4" data-width="3339" data-height="1440"></p><h1>您在项目中使用了 Marvelous Designer。它主要参与了哪些部分的制作？</h1><p>睫毛：它主要参与了场景里大面积布料的演算，以及角色服装设计。</p><p>Marvelous Designer 让我能把更多时间放回设计本身。因为软件操作相对直观，它节省了我不少制作时间，也让我不需要投入过多成本去研究软件本身。这样一来，设计会更加自由。</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/b74f6b59f18c45f68172f31e12f9b4d0md%E6%88%AA%E5%9B%BE%E5%A5%B3%E4%BB%86.png" alt="b74f6b59f18c45f68172f31e12f9b4d0" class="custom-image original-size" data-id="b74f6b59f18c45f68172f31e12f9b4d0" data-width="3699" data-height="2012"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/3a315b2612ba420aab85be4983ff9307md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E.png" alt="3a315b2612ba420aab85be4983ff9307" class="custom-image original-size" data-id="3a315b2612ba420aab85be4983ff9307" data-width="3733" data-height="2038"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/2aea1d376eb843619515bf98658cd216md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E5%A5%B3%E5%84%BF.png" alt="2aea1d376eb843619515bf98658cd216" class="custom-image original-size" data-id="2aea1d376eb843619515bf98658cd216" data-width="3583" data-height="2016"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/e3afe5cecbbe448bac1993c4f6fa1df4md%E6%88%AA%E5%9B%BE%20%E6%97%A7%E5%85%AC%E7%88%B5.png" alt="e3afe5cecbbe448bac1993c4f6fa1df4" class="custom-image original-size" data-id="e3afe5cecbbe448bac1993c4f6fa1df4" data-width="3555" data-height="1944"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/58a33b61871444cdae22c0aef81a20e5md%E6%88%AA%E5%9B%BE%20%E5%85%94%E5%AD%90%E8%B4%A2%E9%98%80%E8%A5%BF%E8%A3%85.png" alt="58a33b61871444cdae22c0aef81a20e5" class="custom-image original-size" data-id="58a33b61871444cdae22c0aef81a20e5" data-width="3677" data-height="2028"></p><h1>您同时使用 Blender、ZBrush、Plasticity 和 Marvelous Designer。这组作品从概念到最终画面的流程是怎样的？</h1><p>睫毛：目前我的创作会先找好资料和参考，然后在 Photoshop 里画一些设计草图。到落地和验证设计阶段，我会以 Blender 作为主要平台进行建模和渲染还原。</p><p>比较简单的物体和角色资产，我会直接在 Blender 里建模完成；ZBrush 主要负责复杂生物和一些角色雕刻；Plasticity 主要负责硬表设计；Marvelous Designer 则负责角色服装和布料。</p><p>有时我也会把 MD 制作好的服装导入 ZBrush 做进一步雕刻处理。外部资产完成后，通常会回到 Blender 中进行整合、调整、赋予材质并完成最终渲染。如果时间充裕，我的个人作品通常会在 3D 里直接渲染输出。</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/d7_jPBtwwN8" 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>回看《失乐园》这个项目，最有挑战性的部分是什么？</h1><p>睫毛：这个项目对我来说主要有两个难点。一个是工作时间和休息时间之间的平衡，很难在休息时间里长期保持高强度创作。</p><p>另一个难点，是如何把极简主义、几何构成和复古未来科技等元素结合起来，并准确表达我想要的主题。如果处理不好，就容易变成比较同质化的作品，所以当时需要花很多时间去取舍。</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/9d04c38bdcbd43299967ffed0d296b5chereyelashes-%20%281%29.jpg" alt="9d04c38bdcbd43299967ffed0d296b5c" class="custom-image original-size" data-id="9d04c38bdcbd43299967ffed0d296b5c" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/4f0990dafde64f7eb754210353c24753hereyelashes-.webp" alt="4f0990dafde64f7eb754210353c24753" class="custom-image original-size" data-id="4f0990dafde64f7eb754210353c24753" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/7d80bc79557447e9bac49460fdacb2e4hereyelashes-.jpg" alt="7d80bc79557447e9bac49460fdacb2e4" class="custom-image original-size" data-id="7d80bc79557447e9bac49460fdacb2e4" data-width="1920" data-height="1066"></p><h1>对于想把 Marvelous Designer 融入概念设计或角色服装设计流程的艺术家，您有什么建议？</h1><p>睫毛：我认为 MD 对设计流程的帮助非常大，但一定要规划好它在整个设计中的占比。</p><p>如果你是概念设计师，不要把自己完全当作建模师，把太多时间花在研究专业服装打版上。更多时间还是应该留给设计本身。视觉上做到让观众觉得合理、可信，其实就足够了。</p><p>如果是以角色为主的设计师，可以把对服装设计的理解做得更到位一些。比如有些角色不适合松垮的造型，服装就需要更贴合角色。如果角色只是作为场景中的简单资产服务，那么服装设计应该尽量精简，面数也要精简，让 MD 帮助提升作品完成效率。</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/dc3ce6a3750f4b5d9db78bd051b20226hereyelashes-916612f54c307f4d8c86cf80864ce377-ezgif.com-webp-to-png-converter.png" alt="dc3ce6a3750f4b5d9db78bd051b20226" class="custom-image original-size" data-id="dc3ce6a3750f4b5d9db78bd051b20226" data-width="1485" data-height="837"></p><hr><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>《Paradise Lost 失乐园》并不是一个只依靠华丽视觉成立的项目。它的冷感、秩序、压迫与欲望，都被压缩进颜色、形状、材质和服装轮廓之中。</em></span></h2><h2 style="text-align: center"><span style="font-family: Times new roman"><em>而 Marvelous Designer 在其中扮演的角色，也不只是“制作衣服”的工具。对于睫毛来说，它更像是概念设计流程中的一环：帮助设计更快落地、帮助布料更可信，也让艺术家把更多时间留给真正重要的判断与取舍。</em></span></h2><hr><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgA32g">Arstation</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shihonbin/">Instagram</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5fb7a7bf000000000101e3f8?xsec_token=ABxGsiB2biAUHDLvPHmjFmGAeH-LBYextJpB1V4x4sgAI=&amp;xsec_source=pc_search">RedNote</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/293838165">Bilibili</a></p><p></p>

概念设计师睫毛：一人构筑复古科幻《失乐园》，他把历史语法画成未来语言

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<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/6LDRQ4OR73g" 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><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>How do you paint history into a futuristic language? In his solo project Paradise Lost, concept designer Eyelashes did just that. Powered by Marvelous Designer for seamless costume creation, his retro-sci-fi universe is both haunting and beautiful.</em></span></h2><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Let's dive in.</em></span></h2><hr><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/76f6ae0e3a92486880008e8cfe4d8574%E8%B4%B5%E6%97%8F%E6%BC%94%E5%87%BA%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1%E5%B1%95%E7%A4%BA.png" alt="76f6ae0e3a92486880008e8cfe4d8574" class="custom-image original-size" data-id="76f6ae0e3a92486880008e8cfe4d8574" data-width="3339" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/c7d0c3359a60488ca5452025ebd38e4emd%E5%88%B6%E4%BD%9C%E7%9A%84%E5%9C%BA%E6%99%AF%E5%B8%83%E6%96%99%E7%AA%97%E5%B8%98.png" alt="c7d0c3359a60488ca5452025ebd38e4e" class="custom-image original-size" data-id="c7d0c3359a60488ca5452025ebd38e4e" data-width="3339" data-height="1440"></p><h1>Welcome to the Marvelous Designer User Spotlight! Could you briefly introduce yourself and share the main focus of your current creative work?</h1><p>Hello everyone! I'm a freelance concept designer from China, and you can call me Eyelashes. My daily work mainly consists of freelance concept design outsourcing, and in my spare time, I create my own personal IPs. Currently, my personal work relies heavily on a 3D workflow, as I believe it better showcases my designs and ideas. I am mainly focusing on sci-fi world-building, and I hope to develop a highly distinct and complete personal style in the future.</p><h1>The world-building in Paradise Lost is incredibly fleshed out: retro-futurism, old nobility, a forbidden city beneath a manor, desire, and decay. Where did this concept initially begin?</h1><p>The ideation for this concept was quite interesting. The earliest inspiration came from watching films like <em>Eyes Wide Shut</em>, <em>The Holy Mountain</em>, and <em>2001: A Space Odyssey,</em> which sparked my interest in retro sci-fi. The hidden desires behind the masks in <em>Eyes Wide Shut</em>, the frantic yet sacred ritualism in <em>The Holy Mountain</em>, and the silent sci-fi thriller vibes of <em>2001: A Space Odyssey</em>—I felt certain tones from these films perfectly aligned with the theme I wanted to explore.</p><p>So, I combined them with my own ideas to express this universe: In an alternate retro-futuristic world, the old nobility indulges in their final glory. Sin and desire are poured beneath the manor, constructing a forbidden city built solely for their own pleasure, codenamed "Paradise Lost." The world is suspended in the rift between the past and the future; the old nobility has long decayed, addicted to insatiable greed and hedonism.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ae2efdb74116463aa7a2ee8d5fdc992ahongbin_scene3_optimized.png" alt="ae2efdb74116463aa7a2ee8d5fdc992a" class="custom-image original-size" data-id="ae2efdb74116463aa7a2ee8d5fdc992a" data-width="3339" data-height="2002"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/605b58b9ba634f639a497d0031913bc8%E7%BB%98%E7%94%BB%E8%8D%89%E5%9B%BE%20.png" alt="605b58b9ba634f639a497d0031913bc8" class="custom-image original-size" data-id="605b58b9ba634f639a497d0031913bc8" data-width="3218" data-height="1685"></p><h1>Your work captures both the opulence of the old nobility and the stark, cold aesthetic of futurism. How did you establish this visual language?</h1><p>I browsed through a massive amount of color archives of the French royal family—not just looking for patterns, but curious about how power narrates itself through color. The gold of Versailles is a monopoly on light, and royal blue is a metaphor woven into the fabric. My goal was to translate this historical grammar into a futuristic language.</p><p>In addition to the blue feudal attire of the old nobility, I wanted to incorporate retro technology from the last century to express the future. Also, to facilitate the future expansion of this universe, I deliberately condensed the visual language into a replicable design formula: Old Nobility Royal Symbols × Retro Technology × Constructivism.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/d8555b953bec4ee0bcd30aa5ea5d8219%E5%A5%B3%E4%BB%86%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="d8555b953bec4ee0bcd30aa5ea5d8219" class="custom-image original-size" data-id="d8555b953bec4ee0bcd30aa5ea5d8219" data-width="2000" data-height="1862"></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/581dbef7357e4b84bc21486751665773%E5%85%AC%E7%88%B5%E5%92%8C%E8%B4%B5%E6%97%8F%E4%B9%8B%E5%A5%B3%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="581dbef7357e4b84bc21486751665773" class="custom-image original-size" data-id="581dbef7357e4b84bc21486751665773" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d62fdd9ed644d9bb2b2ccdaa1749fe9%E9%93%81%E5%BA%8F%E4%B9%8B%E7%8E%8B%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="5d62fdd9ed644d9bb2b2ccdaa1749fe9" class="custom-image original-size" data-id="5d62fdd9ed644d9bb2b2ccdaa1749fe9" data-width="2560" data-height="3265"></p><h1>The costumes in this series convey a strong sense of identity, such as the old nobility, the duchess, and aristocratic descendants. What did you want to convey the most when designing their silhouettes, materials, and colors?</h1><p>When designing the silhouettes, my initial thought was to express the character's costume design using minimalist outlines. Aside from the original intention of making the characters more recognizable, this also served the theme of the world: making the design of the old nobility not just "old," but seamlessly blending it with the "newness" of modern high fashion and runway art. This conveys the idea of a world stuck between the past and the future, satirizing the false prosperity of the capitalist economy within this universe.</p><p>For the materials of the old nobility, I chose the aristocratic texture of silk combined with delicate futuristic fabrics, accented with gold threads. Blue represents the exclusive color of royalty, yellow symbolizes sun worship, and silver highlights merge with aristocratic technology. In this futuristic setting, the old nobility no longer needs intricate crests to declare their identity; they only need to "reduce" themselves to colors and shapes. When the opulence of an entire era is compressed into a pure, flat surface, that simplicity itself becomes the heaviest oppression.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/85e050ea10f6460588b87b9ad25a937d%E8%A5%BF%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="85e050ea10f6460588b87b9ad25a937d" class="custom-image original-size" data-id="85e050ea10f6460588b87b9ad25a937d" data-width="3339" data-height="1440"></p><p></p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/ddb62c588f5a4b3ea5ae42ddb446f464%E8%B4%B5%E6%97%8F%E7%A6%81%E5%8D%AB%E5%86%9B%E4%BD%BF%E7%94%A8md%E7%BB%93%E5%90%88zb%E9%9B%95%E5%88%BB%E7%9A%84%E6%96%B9%E5%BC%8F%E8%AE%BE%E8%AE%A1.png" alt="ddb62c588f5a4b3ea5ae42ddb446f464" class="custom-image original-size" data-id="ddb62c588f5a4b3ea5ae42ddb446f464" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/82d735f3565d43099792f9da4c82a845%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E%E6%9C%8D%E8%A3%85%E8%AE%BE%E8%AE%A1.png" alt="82d735f3565d43099792f9da4c82a845" class="custom-image original-size" data-id="82d735f3565d43099792f9da4c82a845" data-width="2560" data-height="1440"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/5d2391f0607448fb93426b1b5f935bc4%E8%A7%92%E8%89%B2%E5%B8%83%E6%96%99%E6%9D%90%E8%B4%A8.png" alt="5d2391f0607448fb93426b1b5f935bc4" class="custom-image original-size" data-id="5d2391f0607448fb93426b1b5f935bc4" data-width="3339" data-height="1440"></p><h1>You used Marvelous Designer for this project. What parts of the production was it mainly involved in? How did it help your design regarding garments, drapes, or fabric structures?</h1><p>It was primarily used for the large-scale fabric simulations in my scenes and the characters' costume designs. Marvelous Designer allowed me to significantly increase my efficiency in the design phase.</p><p>Because the software is intuitive and easy to use, it saved me a lot of production time. I didn't have to spend a massive amount of time and effort figuring out the software itself, which gave me the freedom to focus entirely on my designs.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/b74f6b59f18c45f68172f31e12f9b4d0md%E6%88%AA%E5%9B%BE%E5%A5%B3%E4%BB%86.png" alt="b74f6b59f18c45f68172f31e12f9b4d0" class="custom-image original-size" data-id="b74f6b59f18c45f68172f31e12f9b4d0" data-width="3699" data-height="2012"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/3a315b2612ba420aab85be4983ff9307md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E7%8E%8B%E5%90%8E.png" alt="3a315b2612ba420aab85be4983ff9307" class="custom-image original-size" data-id="3a315b2612ba420aab85be4983ff9307" data-width="3733" data-height="2038"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/2aea1d376eb843619515bf98658cd216md%E6%88%AA%E5%9B%BE%20%E8%B4%B5%E6%97%8F%E5%A5%B3%E5%84%BF.png" alt="2aea1d376eb843619515bf98658cd216" class="custom-image original-size" data-id="2aea1d376eb843619515bf98658cd216" data-width="3583" data-height="2016"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/e3afe5cecbbe448bac1993c4f6fa1df4md%E6%88%AA%E5%9B%BE%20%E6%97%A7%E5%85%AC%E7%88%B5.png" alt="e3afe5cecbbe448bac1993c4f6fa1df4" class="custom-image original-size" data-id="e3afe5cecbbe448bac1993c4f6fa1df4" data-width="3555" data-height="1944"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/58a33b61871444cdae22c0aef81a20e5md%E6%88%AA%E5%9B%BE%20%E5%85%94%E5%AD%90%E8%B4%A2%E9%98%80%E8%A5%BF%E8%A3%85.png" alt="58a33b61871444cdae22c0aef81a20e5" class="custom-image original-size" data-id="58a33b61871444cdae22c0aef81a20e5" data-width="3677" data-height="2028"></p><h1>You utilized Blender, ZBrush, Plasticity, and Marvelous Designer simultaneously. Could you share your overall production workflow for this series, from concept to final render?</h1><p>For my current workflow, after gathering references and materials, I sketch out some design drafts in Photoshop. Then, to implement and validate the design, I use Blender as my main platform for modeling and rendering. I model simple objects and character assets directly in Blender, while ZBrush handles complex creatures and character sculpting. Plasticity is mainly used for the hard-surface designs in my work, and Marvelous Designer takes care of the character costumes and fabrics.</p><p>Sometimes, I import garments made in MD into ZBrush for further sculpting. Once the external assets are ready, I usually import them back into Blender for integration, adjustments, material application, and final rendering. If I have enough time, I usually render my personal artworks straight out of 3D without much post-processing.</p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/d7_jPBtwwN8" 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>Looking back at the Paradise Lost project, what was the most challenging part?</h1><p>For me, this project had two main challenges at the time:</p><ol><li><p>Balancing work and rest. It’s very difficult to maintain a high intensity of creation during your downtime.</p></li><li><p>Combining elements like minimalism, geometric composition, and retro-futuristic technology to express my desired theme was quite tricky. If not done well, it could easily turn into a homogenized piece. Therefore, I had to spend a lot of time making choices and trade-offs.</p></li></ol><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/9d04c38bdcbd43299967ffed0d296b5chereyelashes-%20%281%29.jpg" alt="9d04c38bdcbd43299967ffed0d296b5c" class="custom-image original-size" data-id="9d04c38bdcbd43299967ffed0d296b5c" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/4f0990dafde64f7eb754210353c24753hereyelashes-.webp" alt="4f0990dafde64f7eb754210353c24753" class="custom-image original-size" data-id="4f0990dafde64f7eb754210353c24753" data-width="1920" data-height="1066"><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/7d80bc79557447e9bac49460fdacb2e4hereyelashes-.jpg" alt="7d80bc79557447e9bac49460fdacb2e4" class="custom-image original-size" data-id="7d80bc79557447e9bac49460fdacb2e4" data-width="1920" data-height="1066"></p><h1>What advice do you have for artists looking to integrate Marvelous Designer into their concept design or character costume design pipelines?</h1><p>As for advice on integrating Marvelous Designer into concept design: I think MD is incredibly helpful in the design pipeline! However, you must carefully plan the proportion of time spent on design versus technical execution. You shouldn't treat yourself as a full-fledged 3D modeler and spend too much time studying professional pattern making. You must spend the majority of your time on the design itself—as long as it looks visually plausible and convincing to the audience, that’s enough.</p><p>For character-focused designers, you can push your understanding of costume design a bit further; for example, if a character isn't suited for a loose-fitting silhouette, the garment design needs to be more tailored to them. If the character is just serving as a simple asset for an environment, the garment design should be kept minimal and the polygon count optimized, allowing MD to boost the overall efficiency of completing the artwork.</p><p><img src="https://storagefiles.clo-set.com/public/community/202607/743d2d3a8c2243c2b3c54e1cbe4dcea2/images/dc3ce6a3750f4b5d9db78bd051b20226hereyelashes-916612f54c307f4d8c86cf80864ce377-ezgif.com-webp-to-png-converter.png" alt="dc3ce6a3750f4b5d9db78bd051b20226" class="custom-image original-size" data-id="dc3ce6a3750f4b5d9db78bd051b20226" data-width="1485" data-height="837"></p><hr><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Paradise Lost is not a project that relies on visual opulence alone. Its coldness, order, oppression, and desire are all compressed into color, shape, material, and the silhouettes of garments.</em></span></h2><h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Marvelous Designer, in this context, is more than just a tool for “making clothes.” For Eyelashes, it becomes part of the concept design pipeline: helping ideas take shape faster, making fabrics feel more convincing, and allowing the artist to spend more time on the decisions and trade-offs that truly matter.</em></span></h2><hr><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgA32g">Arstation</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/shihonbin/">Instagram</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5fb7a7bf000000000101e3f8?xsec_token=ABxGsiB2biAUHDLvPHmjFmGAeH-LBYextJpB1V4x4sgAI=&amp;xsec_source=pc_search">RedNote</a></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://space.bilibili.com/293838165">Bilibili</a></p><p></p>

Concept Designer Eyelashes: Building the Retro-Sci-Fi World of "Paradise Lost"

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/c93d0d5056ac4b87be5dfb853daa110f/images/4d2e6baa477f4978bc2c3a7e2b02b444LSF_Spaghetti_Still_00001.jpg" class="custom-image hidden-thumbnail" data-id="4d2e6baa477f4978bc2c3a7e2b02b444" data-width="1080" data-height="772"><span style="font-family: &quot;Times new roman&quot;"><em>How artist Soohwan fine-tuned friction and skin offset values to perfectly capture the intense choreography and weightless flutter of virtual stage outfits.</em></span></h2><p style="text-align: center"><strong>Discover the work and expert Marvelous Designer tips of</strong></p><p style="text-align: center"><strong>Soohwan Oh in this exclusive series!</strong></p><p style="text-align: center"><strong>[</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></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/X-CXfM2F6ZU?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>Capturing the way garments flutter or cling to the body in response to dynamic choreography is crucial. How did you configure the fabric’s Physical Properties in Marvelous Designer (MD) for such an intense dance simulation?</strong></h1><p>When simulating intense movements in Marvelous Designer, I believe configuring the character body’s Friction values is just as important as the fabric’s physical properties. Especially when applying animation to a dressed character, these two elements heavily dictate how natural the final result looks.</p><p>The choreography I worked on featured the fast, intense movements unique to K-POP. Using the default settings caused the clothing to flutter excessively or slide off the body unnaturally. To solve this, I increased the character’s Kinetic Friction value to prevent the outfit from slipping and sliding over the skin.</p><p>Additionally, I lowered the character model’s Skin Offset below the default value, ensuring the garment didn't look unnaturally afloat but instead clung snugly to the body as if actually worn. These adjustments allowed me to achieve a much more stable and realistic garment simulation.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/c93d0d5056ac4b87be5dfb853daa110f/images/494b72aedc3b4b7295bc5c8ab7a3b082Surface.png" alt="494b72aedc3b4b7295bc5c8ab7a3b082" class="custom-image original-size" data-id="494b72aedc3b4b7295bc5c8ab7a3b082" data-width="717" data-height="303"></p><h1><strong>What features or workflows in MD did you utilize to resolve mesh clipping (collision) or twisting issues that can occur during choreography where arms and legs cross rapidly?</strong></h1><p>I find that these issues often stem from the character animation itself. When replicating actual choreography, structural collisions or interpenetrations between meshes are bound to happen. Therefore, the priority is to first modify the animation phase to minimize mesh overlapping as much as possible.</p><p>If issues still persist during the simulation despite that, I check whether the garment is draped correctly in the pre-simulation pose. If the initial setup is off, errors tend to carry over into the subsequent simulation.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/c93d0d5056ac4b87be5dfb853daa110f/images/4f45277fbc12443bad4b097ee302e9bfCapture.png" alt="4f45277fbc12443bad4b097ee302e9bf" class="custom-image original-size" data-id="4f45277fbc12443bad4b097ee302e9bf" data-width="3840" data-height="2088"></p><p>Lastly, I double-check the fabric’s physical properties, the character’s friction values, and the skin offset, resolving the errors by fine-tuning the numbers bit by bit based on where the problem occurs.</p><p><img src="https://storagefiles.clo-set.com/public/community/202605/c93d0d5056ac4b87be5dfb853daa110f/images/b5d1433350e9420294fb35a6a6676581%E1%84%86%E1%85%AE%E1%86%AF%E1%84%89%E1%85%A5%E1%86%BC.png" alt="b5d1433350e9420294fb35a6a6676581" class="custom-image original-size" data-id="b5d1433350e9420294fb35a6a6676581" data-width="1123" data-height="4353"></p><h1><strong>How did you adjust the garment’s weight or air resistance to make the character’s dance lines pop even more?</strong></h1><p>The actual stage outfits from LE SSERAFIM’s 'Spaghetti' that I referenced were jumpsuits made of a lightweight, thin material that wrinkles easily. To replicate that specific texture, I focused on making the fabric’s physical properties as light and flexible as possible.</p><p>While watching the actual music show performances to study how the clothes moved, I couldn't know the exact numeric values for weight or air resistance. Instead, I ran repeated simulation tests, constantly tweaking the values until the movement closely matched the reference.</p><p>By meticulously tuning the physical properties based on real-world references, I focused on aligning the garment’s movement to naturally accentuate the character’s dance lines.<img src="https://storagefiles.clo-set.com/public/community/202605/c93d0d5056ac4b87be5dfb853daa110f/images/98da2c058b2248ad82e0047a66ba3accCapture%281%29.png" alt="98da2c058b2248ad82e0047a66ba3acc" class="custom-image original-size" data-id="98da2c058b2248ad82e0047a66ba3acc" data-width="3840" data-height="2088"><img src="https://storagefiles.clo-set.com/public/community/202605/c93d0d5056ac4b87be5dfb853daa110f/images/7f519904abb7402384b3f44ccc1ed60bCapture%283%29.png" alt="7f519904abb7402384b3f44ccc1ed60b" class="custom-image original-size" data-id="7f519904abb7402384b3f44ccc1ed60b" data-width="1401" data-height="1699"><img src="https://storagefiles.clo-set.com/public/community/202605/c93d0d5056ac4b87be5dfb853daa110f/images/5c6f7c45de9c4931b6eaf441010ef581LSF_Spaghetti_Still_00001.jpg" alt="5c6f7c45de9c4931b6eaf441010ef581" class="custom-image original-size" data-id="5c6f7c45de9c4931b6eaf441010ef581" data-width="1080" data-height="1920"><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>

Capturing Dynamic Movement: LE SSERAFIM’s 'Spaghetti' Choreography and Simulation

<p style="text-align: center"><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"></p><p style="text-align: center"><em>In this exclusive interview, </em><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/bgGKNo"><em>Sven Ulrich</em></a><em>, Senior Hard Surface Artist at Crytek, shares how his team leverages Marvelous Designer to build immersive, believable environments for the dark world of </em><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.huntshowdown.com/"><em>Hunt: Showdown 1896</em></a><em>. Whether constructing modular fabric fences or rugged command tents, Sven breaks down his production process and shares essential tips on art-directing digital cloth.</em></p><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><strong>Could you please introduce yourself and share a bit about your role in the development of Hunt: Showdown 1896?</strong></h1><p>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.</p><p>I act as a connection point between various departments, such as game design &amp; environment art, making sure the needs of both are met.</p><p>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.</p><p>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.</p><p>Sometimes this is through own initiative, other times it’s through Game Design or Environment Art requests.</p><p>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.</p><p></p><p><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"><br><strong><em>“Examples of assets in Hunt: Showdown 1896 which made extensive use of Marvelous Designer”</em></strong></p><h1><strong>You created various environment assets like fabric fences and tents, how did Marvelous Designer add value to the project's world-building?</strong></h1><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.huntshowdown.com/"><strong>In Hunt: Showdown 1896</strong></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.</p><p>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.</p><p>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.</p><p>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.</p><p><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"><br><strong><em>"Make something exist first, it can be made good after"</em></strong></p><h1><br><strong>[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?</strong></h1><p><strong>Freezing</strong> 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.</p><p><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"><br><strong><em>“Starts and end of cloth need to be the same mesh, else there are gaps at grazing angles, which directly affects the player experience.”</em></strong></p><p><br>Other than that, the <strong>tacking</strong> <strong>tool</strong> 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.</p><p><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"><br><strong><em>“Using some kind of avatar is essential to producing believable cloth.”</em></strong></p><p><br>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.</p><p>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.</p><p>Another tip I’d like to share is to learn your <strong>hotkeys</strong>; 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 - <strong>activate, deactivate, freeze, hide, etc. are all wonderful tools for navigating your scene comfortably and efficiently.</strong> <br><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/community/post/d9fffb13e83a401baa91b639c7795f15">(📒 hotkey guide/shortcut guide)</a></p><p><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.</p><p>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.</p><p></p><h1><strong>[Asset Breakdown] could you pick your most iconic fabric asset from the game and give us a quick breakdown of its production process?</strong></h1><p>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"><strong>Rishab Nanda</strong></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.</p><p>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.</p><p>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.</p><p>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.</p><p>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.</p><p><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"><strong><em>“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.” </em></strong><br><br>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.</p><p>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.</p><p>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.</p><p>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.</p><p></p><h1><strong>What is your favorite feature or tool to use in Marvelous Designer?</strong></h1><p>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. <br></p><h1><strong>For other users considering Marvelous Designer, do you have any advice or experience to share?</strong></h1><p>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.</p><p>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"></p><p></p><p></p>

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

概念设计师睫毛：一人构筑复古科幻《失乐园》，他把历史语法画成未来语言

Marvelous Designer Official

Marvelous Designer Official