<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Anastasia Kukosh, a student at Think Tank Training Center, showcases her talent and passion for AAA game development with her impressive project, Rasheeda.</em></span></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/ff2ac3427155486dab31d13d00c4dd216f00ab710c084076afef8f57aadc93eb.png" class="custom-image original-size" data-id="ff2ac3427155486dab31d13d00c4dd21" data-width="1019" data-height="720"><p></p><h1 style="text-align: center"><strong>Interview with Anastasia Kukosh | Rasheeda | Character Artist</strong></h1><h1><strong>Artist introduction</strong></h1><p>My name is Anastasia Kukosh, I am a student at Think Tank Training Center. My passion for the arts started in my childhood, then I joined the Master's degree in Fine Art. After this formation, I began my journey in 3D modeling less than a Year ago. My goal is to join the future industries of the new generation of AAA Games. I used different softwares in my workflow, one of them is Marvelous Designer.</p><p></p><h1><strong>When did you start using Marvelous Designer and how did that affect your workflow process?</strong></h1><p>I started using Marvelous Designer at Think Tank about three months ago when we were given an exercise to make a leather jacket. During the exercise, we learned about insert offset lines, layers, pressure levels, and more.</p><p>For my final project in the second term, I decided to choose a character with clothing to gain a better understanding of the workflow. It turned out to be a great and successful experience where Marvelous Designer helped me solve half of the problems that I was worrying about.</p><p></p><h1><strong>As a student, how much time did you find sufficient to gain confidence in using Marvelous Designer?</strong></h1><p>I was pleasantly surprised by how easy it was to start using Marvelous Designer, and within a month, I was able to achieve some results. However, to produce high-quality work, you must invest more time in learning shortcuts, selecting the appropriate tool for each situation, and researching information for the tools you are unfamiliar with. If you take a break from using Marvelous Designer for some time, it can feel like starting from scratch again.</p><p></p><h1><strong>Explain the project's creation aspects, including intentions, goals, cloth design approach, and references.</strong></h1><p>After studying at Think Tank for 7 months, I decided to use the concept of Maisie Mei's "Rasheeda - Holy Maiden". As I only had a month to complete it, I had to work fast and determine which parts would be the most time-consuming. Since I had no prior experience in character creation, I assumed that designing clothing and retopology would be the most challenging aspects.</p><p>The main goals were to use the right workflow, mastering fabric texturing,rendering in Marmoset Toolbag, achieving a lifelike facial representation, and to try working with hair cards.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/1dc4493728b6413c87905a877f801d4c3215c992df88473abf40cca2e08ab566.jpg" class="custom-image original-size" data-id="1dc4493728b6413c87905a877f801d4c" data-width="1920" data-height="1120"><h1><strong>Share your approach to working with Marvelous Designer. What tricks have you discovered to boost efficiency while building the hat?</strong></h1><p>I think that using Marvelous Designer is a good way to quickly and accurately block out the character's shape and simulate it in 3D space. If I like how it looks, I can then proceed to add more detailed features or move to other programs, like ZBrush.</p><p>1. When I start a project, I begin by creating a mood board. This board contains a lot of visual information about the project, and I conduct my research using various platforms such as Google, Pinterest, and Artstation. I have a dedicated section on the board for clothing, where I gather patterns, textures, and information on how the clothes move, among other things.</p><p>2. In Marvelous Designer, I begin by importing my custom model onto the canvas. Then, I create the garment by crafting simple shapes while referring to real clothing garments for inspiration. This helps me avoid making errors and ensures folds are accurate. Sometimes, I use frozen parts of the mesh to achieve specific shapes. My workflow in Marvelous Designer involves importing a custom model onto the canvas and creating basic patterns to form the foundation of the garment.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/2efef112278b48c097d4a88bf59d1317c8607c91a6e9408daf3a1853eb70dadf.png" class="custom-image original-size" data-id="2efef112278b48c097d4a88bf59d1317" data-width="602" data-height="343"><p>I conduct research and draw inspiration from existing designs to enhance the authenticity of my garment's construction. Emulating natural folds and drapes often yields more realistic results compared to attempting to replicate them from your head.</p><p>Additionally, I occasionally leverage frozen parts of the mesh to manipulate and achieve unique shapes.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/0a27537be9be4ce98b39b642e7ac8bf8c559b84df0d94c52a7b8b76bb775fff7.png" class="custom-image original-size" data-id="0a27537be9be4ce98b39b642e7ac8bf8" data-width="258" data-height="232"><p><strong>Hat Modeling</strong></p><p>For faster results, I created a low poly hat and achieved a fabric look through texturing alone, without using HighPoly. The process was significantly faster and produced satisfactory results.</p><p>I used Marvelous Designer to create folds on a piece of fabric. Then, in ZBrush, I used RMGBZGrabber to create an alpha. I used this alpha as a height mask in Substance Painter.</p><p></p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/f4f65f0d364b4e0ebd678261cc6f483d2522472b486946de80e4b9a9ad52d1fc.png" class="custom-image original-size" data-id="f4f65f0d364b4e0ebd678261cc6f483d" data-width="451" data-height="131"><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/3b7d84ffc6ac4289b510f6cb5737416bd3c0a2a5caf94afda54095472375eed4.png" class="custom-image original-size" data-id="3b7d84ffc6ac4289b510f6cb5737416b" data-width="902" data-height="544"><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/c14b13335b8241b0b185a6e363b7998e520df7c9cc684988835e0b7e0f5cb0b6.png" class="custom-image original-size" data-id="c14b13335b8241b0b185a6e363b7998e" data-width="598" data-height="161"><p></p><h1><strong>Explain your process of moving between Marvelous Designer and other software. How do you prepare your project for a smooth transition?</strong></h1><p>For me, the quickest method was to export garments with UVs from Marvelous and reconstruct them in Maya before working on them in Zbrush. This way, I can preserve the UVs for baking. Additionally, I created most of the fine details such as seams, fabric structure, and microfolds in Substance.</p><p>Here are the steps:</p><p>Organize UVs for export and ensure no overlap for retopology.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/4a0f4fa1366b495e880111f3cc035ee7757714d261104bc0b61274f99f2569df.png" class="custom-image original-size" data-id="4a0f4fa1366b495e880111f3cc035ee7" data-width="902" data-height="524"><p>Export simulated dress with UVs with particles distance 5.0.or less</p><p>Select the all garment, right click →“Quadrangulate” with particle distance 20.0</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/2db4d293e69d4344aef33bf93e4e74ac304b95be7bc841edba5b10964a69c7be.png" class="custom-image original-size" data-id="2db4d293e69d4344aef33bf93e4e74ac" data-width="606" data-height="644"><p>Make All mesh flatten and export it→ (Reset 2D arrangement all)</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/78d9951d2f2445b3a7e0b5a216d2a447f9cb5aebdd9a44a9ac776cadcb41f015.png" class="custom-image original-size" data-id="78d9951d2f2445b3a7e0b5a216d2a447" data-width="902" data-height="556"><p>Import to Maya both versions from Marvelous Designer and the Avatar character.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/0b6f863113e34d108332cae5b754ba2112cdabe9711c470bba28f3efe4addd69.png" class="custom-image original-size" data-id="0b6f863113e34d108332cae5b754ba21" data-width="902" data-height="510"><p>Prepare the Flatten Version to Retopology (Tip: Duplicate your flatten version and make live surface).</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/3d5d5f9a214f4197af38913253552ff7d44c446506194b2b96d533a128f248ca.png" class="custom-image original-size" data-id="3d5d5f9a214f4197af38913253552ff7" data-width="602" data-height="101"><p>Transfer your Uvs from the old flatten version to the retopology one. (Tip: Use Transfer Attributes)</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/b5cd90430d7340ccbf1bec90b340360e2912162b551c487ab9dac56548d435b6.png" class="custom-image original-size" data-id="b5cd90430d7340ccbf1bec90b340360e" data-width="744" data-height="520"><p>Transfer the vertices position of the simulated one on the flatten retopology to finally have a lower clothes resolution simulated.</p><p>Smooth this low version and transfer vertices again (step 8) to have a defined Hight poly.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/dbf2a4d5bcdf47539c5963aea8155d3133f2688f2c9f426e98bde3d2f815336d.png" class="custom-image original-size" data-id="dbf2a4d5bcdf47539c5963aea8155d31" data-width="902" data-height="520"><p>Import Into Zbrush and Reconstruct SunbD and Autogroup it. So here we have ready Mesh to work on with High poly and Low poly.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/659b5fad114b4c97b0c1620a9224f84891d66b95371642f580f887156fb17590.png" class="custom-image original-size" data-id="659b5fad114b4c97b0c1620a9224f848" data-width="407" data-height="158"><img src="https://storagefiles.clo-set.com/public/community/202412/8bb8603c02bc490e91a507c98bbe0310/images/2493078363a1497ab5e26fd6fb3a6916efc9f7811786476bb4ac4c8ed0e2f191.png" class="custom-image original-size" data-id="2493078363a1497ab5e26fd6fb3a6916" data-width="602" data-height="308"><h1><strong>How can you describe your overall experience of the use of the Marvelous Designer?</strong></h1><p>I am very happy about using Marvelous Designer! Without it, it would’ve been difficult for me to achieve this result in just one month. The more I use it, the better it gets. Work speed is faster and provides a solid foundation for sculpting. Definitely Marvelous Designer must be in use in my work.</p><p></p><h1><span style="font-family: &quot;Avenir Next LT Pro&quot;, pretendard, source-han-sans-cjk-sc, &quot;BIZ UDGothic&quot;, sans-serif, sans-serif"><strong>by&nbsp;Anastasia Kukosh</strong></span><br><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nastyakukosh"><strong><em>ArtStation</em></strong></a></h1>

Rasheeda

Monochrome Lace & Tiered Ruffle Mini Dress

85benjamin.2006

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><strong><em>Bridging anime imagination and grounded realism: How Soohwan Oh masters intricate leather textures and silhouettes with Marvelous Designer.</em></strong></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><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/4gnFmZIQkxk" 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>You’ve recreated the legendary motorcycle sequence from the anime Akira. When translating such an intense visual into 3D, what specific aspects of the clothing’s silhouette and texture did you focus on most?</strong></h1><p>While the project was inspired by the original Akira, my primary goal was to maximize the sense of realism, as I was reinterpreting it through a photorealistic lens. At the same time, I felt it was crucial to preserve the visceral impact of the source material. To maintain that iconic presence, I opted for a monochromatic color scheme for the outfit. Specifically, I took a cue from the protagonist’s signature red suit but reinterpreted it in a deep purple to better reflect the unique mood and atmosphere of my character.</p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/134ca2b379c343c29d03be4c467f207bChasm%27s%20Call_Character_Detail_1_00000.png" alt="134ca2b379c343c29d03be4c467f207b" class="custom-image original-size" data-id="134ca2b379c343c29d03be4c467f207b" data-width="2212" data-height="2765"></p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/08918f405d6e4630b5b334d41ba24a5aChasm%27s%20Call_Character_Detail_1_00002.png" alt="08918f405d6e4630b5b334d41ba24a5a" class="custom-image original-size" data-id="08918f405d6e4630b5b334d41ba24a5a" data-width="1966" data-height="2458">I designed the outfit with a sleek, form-fitting silhouette to clearly define the character’s frame. By opting for a stiff, heavy-weight leather, I was able to emphasize both structural integrity and a realistic tactile depth. To ensure the materials felt at home in a dystopian setting, I paid close attention to the weathering effects. Rather than going for an exaggerated, damaged look, I focused on achieving a sense of 'lived-in' realism—recreating the natural fading and subtle wear that comes from genuine, long-term use.</p><p></p><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/sGJvDWgFl5Q" 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><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/8219b7f534514c96bde8306dae980a90Chasm%27s%20Call_Character_Detail_2_psd.png" alt="8219b7f534514c96bde8306dae980a90" class="custom-image original-size" data-id="8219b7f534514c96bde8306dae980a90" data-width="2458" data-height="3072"><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/e2f8a16244484b91ae646d27c5259c27Chasm%27s%20Call_Character_Detail_1_00001_psd.png" alt="e2f8a16244484b91ae646d27c5259c27" class="custom-image original-size" data-id="e2f8a16244484b91ae646d27c5259c27" data-width="2150" data-height="2688"></p><h1><strong>How did Marvelous Designer assist you in bridging the gap between the exaggerated wrinkles of the anime and high-end photorealistic 3D?</strong></h1><p>If you look at the bomber jacket in the original anime, the folds aren't scattered across the entire garment; instead, the design is defined by bold, chunky wrinkles concentrated specifically around the pushed-up sleeves. While the exact material isn't explicitly defined in the anime, I reinterpreted it as a thick, heavy leather, similar to a classic rider’s jacket.</p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/85f108ea9bfe4600904d40f56a6d4f35%E1%84%86%E1%85%AE%E1%86%AF%E1%84%89%E1%85%A5%E1%86%BC.png" alt="85f108ea9bfe4600904d40f56a6d4f35" class="custom-image original-size" data-id="85f108ea9bfe4600904d40f56a6d4f35" data-width="1056" data-height="4293"></p><p>To achieve this in Marvelous Designer, I fine-tuned the fabric properties to suppress fine micro-folds and instead focused on emphasizing the bold, natural wrinkles created by the pushed-up sleeves. Considering the jacket’s rigid and heavy nature, I purposely increased the weight values to ensure its structural silhouette remained intact. I also dialed down the stretch and elasticity parameters to reflect the inelasticity of genuine leather, aiming for a more grounded and realistic tactile feel.</p><p></p><h1><strong>During the reinterpretation process, were there any specific costume details or layering strategies you introduced that reflect your own personal style, beyond what was in the original source material?</strong></h1><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/493708a0de7140f882f5d54fbf10a867Chasm%27s%20Call_Character_Detail_3.png" alt="493708a0de7140f882f5d54fbf10a867" class="custom-image original-size" data-id="493708a0de7140f882f5d54fbf10a867" data-width="2150" data-height="2688"></p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/a0c98a0193d145c9a6343244e4180930Chasm%27s%20Call_Character_Detail_4.png" alt="a0c98a0193d145c9a6343244e4180930" class="custom-image original-size" data-id="a0c98a0193d145c9a6343244e4180930" data-width="2458" data-height="3072"></p><p>Since the original material is an anime, I felt that translating it directly into photorealism would create some visual dissonance. For example, the protagonist's oversized jacket—with its unrealistic volume for motorcycle riding—or the iconic red cape of the villain, Tetsuo, could feel out of place in a realistic graphic setting. I believed that the process of reinterpreting these elements with a more grounded logic was key to establishing my own unique style within the project.</p><p></p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/29280b0b4a3642da8b9843314a532aebezgif-1c3d545a92f8bbf6.gif" alt="29280b0b4a3642da8b9843314a532aeb" class="custom-image original-size" data-id="29280b0b4a3642da8b9843314a532aeb" data-width="840" data-height="473"></p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/ab1df06979f24559970db2e86dfd88e3Capture.png" alt="ab1df06979f24559970db2e86dfd88e3" class="custom-image original-size" data-id="ab1df06979f24559970db2e86dfd88e3" data-width="3840" data-height="2088">For the protagonist, I reconstructed the outfit using functional, realistic garment details to ensure it looked natural for an actual rider, drawing specific inspiration from Vetements collections for the intricate details on the jacket and trousers. As for the villain, rather than sticking to the original red cape, I reinterpreted it as a red long coat to provide a more grounded and substantial feel. I crafted the overall silhouette and style in a modern, sophisticated direction, referencing Balenciaga’s lookbooks to achieve a refined, high-fashion edge.</p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/6b1619c7a2b14f68abfb1c77577baedcCapture%281%29.png" alt="6b1619c7a2b14f68abfb1c77577baedc" class="custom-image original-size" data-id="6b1619c7a2b14f68abfb1c77577baedc" data-width="3840" data-height="2088"></p><p><img src="https://storagefiles.clo-set.com/public/community/202604/c613e4a3c68d49a8a1e0b49cf1592a9c/images/421477fbacc34b43bd4257d8891bceccChasm%27s%20Call_Poster_jpg.jpg" alt="421477fbacc34b43bd4257d8891bcecc" class="custom-image original-size" data-id="421477fbacc34b43bd4257d8891bcecc" data-width="3072" data-height="3840"></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>

Cinematic Homage: A Reinterpretation of Akira

아카데믹 챌린지

Championship Thread

Men’s casual style

Traditional Costumes 3D Restoration

Create Your Persona: 3D Character & Digital Fashion

Cut, Slash & Corset

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Meet Sarah, a skilled 3D designer, as she unveils her process for crafting hard-surface armor using Marvelous Designer. The hard surface look is seamlessly achieved within the creative realm of Marvelous Designer.</em></span></h2><hr><h1><strong>Interview with Sarah Prado | Armor Creation in MD | 3D artist</strong></h1><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/30efa36ca78444c980c8506dcd6a44dd2733c7e3de954fbcb3d558d99ff94578.png" class="custom-image original-size" data-id="30efa36ca78444c980c8506dcd6a44dd" data-width="3000" data-height="2504"><p></p><h1><strong>Artist Introduction.</strong></h1><p>My name is Sarah, I am a Brazilian 3D Artist, Fashion Designer, gamer, and mother of cats. I have a university degree in Fashion and for more than 10 years I worked as a designer, patternmaker, and seamstress in local industries, mainly with bridal gowns and formal wear for women.</p><p>I had my first experience with Marvelous in 2020 during the Covid lockdown, which has blown my mind. Since then I have fully migrated to 3D, where I can work with more fantastic designs and test patterns for much less expense and much less waste.</p><p>Nowadays I use mainly Marvelous, Substance Painter, and Blender.</p><p>Although one can apply Marvelous into to a range of areas such as home decor and stylized characters, I really enjoy working with realistic but fantastic designs.</p><p></p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/47381740a2d046839a26fbfdfbe2add5sorceress%20isometric.png" class="custom-image original-size" data-id="47381740a2d046839a26fbfdfbe2add5" data-width="3059" data-height="3060"><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/76f1edc7c11b4a318b0bb57004547425cathedral%20render3-front2.png" class="custom-image original-size" data-id="76f1edc7c11b4a318b0bb57004547425" data-width="1000" data-height="1200"><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/3200103c62c24e228272db1d2e6a67ddcathedral%20render3-back2.png" class="custom-image original-size" data-id="3200103c62c24e228272db1d2e6a67dd" data-width="1000" data-height="1200"><h1><strong>You've recently released impressive armor creations that have received a tremendous response from the user community. We are extremely curious to know what inspired you to implement armor creation that can be created on hard surfaces in other software. Can you tell us more?﻿</strong></h1><p>﻿This artwork in particular came from this annoying situation that older gamer girls would face when playing RPG and fantasy genre when the armor supposed to protect the character's body is actually more like a bikini made of steel and sheer fabric. So I made a meme-like expectation vs reality artwork. It was fun and I enjoyed how both versions ended up, but I put much more time and research into the realistic one.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/1fdd42fb51714dae9d01020023fa6842expectation%20x%20reality2.png" class="custom-image original-size" data-id="1fdd42fb51714dae9d01020023fa6842" data-width="4170" data-height="4083"><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/9b3ec971b5014c318e0dd64919e59938armor%20ref.png" class="custom-image original-size" data-id="9b3ec971b5014c318e0dd64919e59938" data-width="3000" data-height="2073"><p></p><h1><strong>What was your primary focus in your artwork? What are the powerful benefits of making armor using Marvelous Designer?</strong></h1><p>It is kind of a personal challenge since I was told I could nor should do any of the sort in clothing simulation software. So I've been playing with adding hard-surface elements totally made into Marvelous in previous artworks before the armor with great results even when simulating animation and the main reason for that is: I'm a total noob in other programs.</p><p>As a fashion designer, I guess I'm more functional thinking in clothing patterns than as a sculptor. I have no idea if a blacksmith would use cut pieces of flat metal to bend and weld into armor, but that's definitely what I would do. I think that's what cosplay makers do, anyway.</p><p>So, why not? People come from different backgrounds and I think we all should be allowed to go after the results we want no matter the tool we are more comfortable with!</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/f02d686156544563a2db50a39230c4faarmor%20marvelous.png" class="custom-image original-size" data-id="f02d686156544563a2db50a39230c4fa" data-width="2134" data-height="1226"><p></p><h1><strong>Would you be able to provide us with an overview of your pipeline, focusing on Marvelous Designer? Have you encountered any challenges and how have you overcome them?</strong></h1><p>Of course! It's basically a fabric with stiffer but smooth aspect presets (high shear, high bending, medium stretch, etc) and fold angles.</p><p>I like starting with an avatar in A-pose, where I make a doublet: a regular fabric garment usually worn under the armor. I keep it single-layered since most of the reverse won't be shown, the sewn lines are actually internal lines with fold angles over 180.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/7715e9b907d244d5a7da85066f035733step1.png" class="custom-image original-size" data-id="7715e9b907d244d5a7da85066f035733" data-width="2487" data-height="1267"><p></p><p>Then I add the patterns to be the armor itself, I like to start with a Trim Full Grain Leather fabric and then tweak its properties until it reaches the desired hardness.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/8c308fd6f361446aad510aa61916fefastep2.png" class="custom-image original-size" data-id="8c308fd6f361446aad510aa61916fefa" data-width="2502" data-height="1269"><p></p><p>To keep the armor pieces attached one to another I use internal lines to emulate rivets or links. I may model some leather stripes to attach the metal pieces too. It will serve as a guide later when texturing to make it look like a rivet.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/f06bc6ff50fd437ebfb81e5387a193e7step3.png" class="custom-image original-size" data-id="f06bc6ff50fd437ebfb81e5387a193e7" data-width="2489" data-height="1278"><p><br>That done, I go to designing the surface angles using internal lines and changing the fold angles too, &lt;180 for the pinch effect and &gt;180 for creases. Some designs will need several internal lines and different fold angles. It may be needed to apply fold angles on the sewing lines too. That's what will make the sculpted appearance of the metal plates. Fold angles only show in 3D when simulating in "normal" or "fitting" modes, "fast" mode does not deliver a good result.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/424f8901080b49eab71c0421e1342b2fstep4.png" class="custom-image original-size" data-id="424f8901080b49eab71c0421e1342b2f" data-width="2498" data-height="1314"><p></p><p>Depending on the piece, it also should be necessary to apply bond or seam tapings ("under the collar" preset is great for this) and, after reaching the desired shape, solidify so it stays in place.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/769a5db341de4247b5134d5a12bf02a0step5.png" class="custom-image original-size" data-id="769a5db341de4247b5134d5a12bf02a0" data-width="2486" data-height="1277"><p></p><p>Last but not least, I like to play with the thickness too. Usually, I lower the curved side geometry or even remove it to keep it more angular.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/ac61a436bc224a6cb8df73e186c81f44step6.png" class="custom-image original-size" data-id="ac61a436bc224a6cb8df73e186c81f44" data-width="2495" data-height="1311"><p><br>That's the essence of how I make armor and hard-surface elements using Marvelous!</p><p>The only challenge I faced was that I had to adapt the patterns to visually fit what I wanted.</p><p>For example, the cords that fasten the vambraces were not really long cords but little pieces sewn in the right places; the buckles were not really buckles but hard fabric cut in the right shapes. It doesn't need to be, just needs to look like it is. Anything else just required patience and creativity to shape the design.</p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/f468b275282443648dc65289f82ee263step7.png" class="custom-image original-size" data-id="f468b275282443648dc65289f82ee263" data-width="2134" data-height="1272"><p><span style="font-family: &quot;Avenir Next LT Pro&quot;, pretendard, source-han-sans-cjk-sc, &quot;BIZ UDGothic&quot;, sans-serif, sans-serif"><br></span></p><h1><strong>Are there any tips and tricks with Marvelous Designer that you can share with the community?</strong></h1><p>There's one I like: for some pieces when you need to have a gap, for example, a corset backside or a deep neckline you want to keep in place, just make a piece of pattern fitting the gap and sew to the piece borders, then when simulating it will not show any pressure points or deformations. Deactivate (pattern only) and hide the 3D view of this pattern. You'll then have a gap with straight borders and the hidden piece will not be exported with your object!</p><p></p><img src="https://storagefiles.clo-set.com/public/community/202412/8d4b3d81d36b4b1f976cbfb3db7a3342/images/82ef2d9ff83f4a2a953e3dbb5a7a499dtip%20final.png" class="custom-image original-size" data-id="82ef2d9ff83f4a2a953e3dbb5a7a499d" data-width="2138" data-height="1265"><p>If you need to simulate an animation then you'll have to activate it, but it may face some instabilities then. Testing is the key.</p><p></p><h1><strong>by Sarah Prado</strong></h1><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/sandorah">Link to Artstation</a></p>

Making An Armor In Marvelous Designer: Breaking Boundaries

Blouse Items

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/85c88747a31e43b3ab90ab8f92b42e3c/images/ba855e45e3e5479bb46c74dd6af327ca74b0d31bd200411f990370ced107486cArtwork_V2_Extreme.png" class="custom-image hidden-thumbnail" data-id="ba855e45e3e5479bb46c74dd6af327ca" data-width="1080" data-height="675"><span style="font-family: &quot;Times new roman&quot;"><em>Freelance 3D artist </em></span><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/beanburn_"><span style="font-family: &quot;Times new roman&quot;"><em>Beanburn</em></span></a><span style="font-family: &quot;Times new roman&quot;"><em> shares behind the scenes of global game projects and personal passion pieces.</em></span></h2><p><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/74b0d31bd200411f990370ced107486cArtwork_V2_Extreme.png" alt="74b0d31bd200411f990370ced107486c" class="custom-image original-size" data-id="74b0d31bd200411f990370ced107486c" data-width="1080" data-height="1920"></p><h1><strong>Could you briefly introduce yourself and share what led you to start working in 3D design?</strong></h1><p>Hello, I'm Beanburn, a freelance 3D artist.</p><p>I mainly create opening videos, trailers, and commercials for game events, and I’ve had the opportunity to collaborate with companies such as <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/seunghyeon">Riot Games, Tencent Games, Krafton, and Smilegate.</a></p><p>I first got into 3D design thanks to a recommendation from a fashion designer I knew. After trying it out based on his suggestion, I realized how well it suited me — and I’ve been working in this field ever since.</p><p></p><h1><strong>Could you tell us about some of the recent projects you've worked on?</strong></h1><p>Recently, I worked on the trailer for <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/hfRcti4irPs?si=dqpL79kFdtUKmIjb">Krafton’s PUBG Global Championship</a> and the opening video for <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/gallery/207218467/VCT-Pacific-Stage-2-Season-Finals">Riot Games’ VCT Pacific Final</a>.</p><p>On the personal side, I participated in the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/beanburn_/reel/C_qIcOVhU5-/">Pwnisher </a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/beanburn_/reel/DHDQdxqvxBu/">Challenge</a>, a global 3D challenge held twice a year, and I’ve been consistently working on my own series titled False Shepherd Series.</p><p><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/3820312817234edc826ac24a64e023deezgif-57fa93ccc532fd.gif" alt="3820312817234edc826ac24a64e023de" class="custom-image medium-size" data-id="3820312817234edc826ac24a64e023de" data-width="600" data-height="253"><img src="https://storagefiles.clo-set.com/public/community/202508/85c88747a31e43b3ab90ab8f92b42e3c/images/37156e25245b4c78aec23d97fe6c0541Ronin_.png" alt="37156e25245b4c78aec23d97fe6c0541" class="custom-image medium-size" data-id="37156e25245b4c78aec23d97fe6c0541" data-width="1080" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/25eddaa102644dbe8aaafdbb483f8947Golden_Type1.png" alt="25eddaa102644dbe8aaafdbb483f8947" class="custom-image medium-size" data-id="25eddaa102644dbe8aaafdbb483f8947" data-width="2538" data-height="1080"> <img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/31cc9005af0f440caa95e56acf2d6be6False%20Shpherd_V2_Type1.png" alt="31cc9005af0f440caa95e56acf2d6be6" class="custom-image medium-size" data-id="31cc9005af0f440caa95e56acf2d6be6" data-width="2550" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/776168878a1c4b6aaacde5b0f0f263efFalse%20Shpherd_V1.png" alt="776168878a1c4b6aaacde5b0f0f263ef" class="custom-image medium-size" data-id="776168878a1c4b6aaacde5b0f0f263ef" data-width="1500" data-height="2500"></p><h1><strong>Can you give us a brief overview of the tools you use in your pipeline?</strong></h1><p>I primarily use Cinema 4D for character animation and look development.</p><p>When character costumes are needed, I use Marvelous Designer to create them — not just clothing, but also accessories like bags, gloves, and cushions.</p><p>Depending on the project, I also use ZBrush and Substance Painter for sculpting and texturing. Once all modeling is complete, I create FX using Janga FX tools and handle compositing in After Effects.</p><p></p><h1><strong>What part of the process do you enjoy the most, and what has been the most challenging?</strong></h1><p>I especially enjoy character animation and costume creation — costume design, in particular, brings me a lot of joy.</p><p>In large-scale projects, costumes are often created by other modelers or delivered separately, so I don’t always get the chance to make them myself, which can be a bit disappointing.</p><p>On the other hand, in personal projects, I get to design and create the costumes myself, which makes the process much more enjoyable and fulfilling.</p><p><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/cecf1673e6274467943a03022fead743ezgif-8f5325554cfdc8.png" alt="cecf1673e6274467943a03022fead743" class="custom-image original-size" data-id="cecf1673e6274467943a03022fead743" data-width="900" data-height="1600"><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/fb03e252de6d486ea52fbcded68261bcRobber_ScreenShot.png" alt="fb03e252de6d486ea52fbcded68261bc" class="custom-image original-size" data-id="fb03e252de6d486ea52fbcded68261bc" data-width="3840" data-height="2160"></p><p></p><h1><strong>What has been the most difficult part of working on your projects?</strong></h1><p>While character animation is the most enjoyable part, it’s also the most challenging.</p><p>Working with game IPs often comes with strict movement restrictions, and when animations are not intended for in-game use, multiple rounds of approval are required. This can make the process quite complex and time-consuming.</p><p><img src="https://storagefiles.clo-set.com/public/community/202508/85c88747a31e43b3ab90ab8f92b42e3c/images/780a382393f34b5589de934a0ff5a575Ronin_1920x810.png" alt="780a382393f34b5589de934a0ff5a575" class="custom-image original-size" data-id="780a382393f34b5589de934a0ff5a575" data-width="1920" data-height="810"><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/3b1fc1690ff147eda109f4e335ebea19Ronin_Samurai_ScreenShot.png" alt="3b1fc1690ff147eda109f4e335ebea19" class="custom-image original-size" data-id="3b1fc1690ff147eda109f4e335ebea19" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202507/85c88747a31e43b3ab90ab8f92b42e3c/images/05471b9bd2414aa6b2fe180d36285df2Golden_ScreenShot.png" alt="05471b9bd2414aa6b2fe180d36285df2" class="custom-image original-size" data-id="05471b9bd2414aa6b2fe180d36285df2" data-width="3840" data-height="2160"></p><p></p><h1><strong>Lastly, do you have any advice for those just starting out in 3D art? Whether it's career-related or mindset during creation, any tips would be appreciated.</strong></h1><p>I’m not sure I’m in a position to give big advice, but I’d like to share a few thoughts based on my personal experience.</p><p>As someone who entered this field later in life and without a formal background, I often felt like I was falling behind.</p><p>But by staying consistent and working hard, I eventually got to work on great projects — and even have the opportunity to do this interview with Marvelous Designer.</p><p>So even if things feel difficult, I believe that if you keep going with patience, good opportunities will come your way.</p><p>Also, when working on your art, I recommend approaching it with a lighter mindset.</p><p>Over time, you’ll find yourself creating more naturally and efficiently. Don’t overthink it — just start. Once you begin, you’ll definitely move forward.</p><p>I truly hope we can continue growing together.</p><p></p>

Rasheeda

Marvelous Designer Official

Marvelous Designer Official