<h2 style="text-align: center">VRChatで数多くのワールド制作、3Dデザイン、ディレクションを手掛ける3Dアーティスト、Lura ( <a target="_blank" rel="noopener noreferrer nofollow" href="https://x.com/Lu_Ra_999">@Lu_Ra_999</a> ) 氏。 <a target="_blank" rel="noopener noreferrer nofollow" href="https://quickbrown.net/">QuickBrown Design Studio</a>の代表でもある彼が、これまでのワールド／アセット制作における制作経験を語ります。</h2><h2 style="text-align: center">Lura氏がMarvelous Designerと共に行った、バーチャルリアリティ空間に「快適でリラックスできる空間」をデザインし、創造するための道のりを追います。</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/fd8089806d2645798188d95e313567471-3.jpg" alt="fd8089806d2645798188d95e31356747" class="custom-image original-size" data-id="fd8089806d2645798188d95e31356747" data-width="2896" data-height="4096"><img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/c0e4ee0da2274902ba22c36b4a5934ebbackpack.jpg" alt="c0e4ee0da2274902ba22c36b4a5934eb" class="custom-image original-size" data-id="c0e4ee0da2274902ba22c36b4a5934eb" data-width="2161" data-height="1329"><h1>1. アーティスト紹介</h1>私はVRChatを中心に、ワールド制作やアートディレクション、モデリング、アセット販売を行っているLuraです。 リアルタイムで動作する3DCG空間の制作を得意としており、ゲームやVR向けに住空間やイベント会場などをデザインしています。武蔵野美術大学を卒業後、ゲーム業界で働きながらVRChatでの創作活動を開始しました。 バーチャルマーケットやShaderFesなどのイベントで建築アセットやギミック制作を経験し、2023年にフリーランスとして独立。現在はQuickBrown Design Studioとして活動しています。<hr><h1>2. アートディレクションとビジュアルスタイル</h1>代表的な事例として、「LuminousHotel」ではラグジュアリーなホテル空間をテーマに、長時間滞在しても快適に過ごせるよう設計。手触りの良いギミックも多く盛り込みました。また、280万人以上が訪問した「Floating Airship」では、布を多用して柔らかくリラックスできる空間を演出。VRでも「ぶつかっても痛くない」ような安心感を与えるデザインを目指しました。私が常に意識しているのは「長時間過ごしても不快にならない空間」です。特にライティングにこだわり、落ち着いた雰囲気を重視。VRではオブジェクトを至近距離で観察できるため、違和感を感じさせない精度で仕上げることを大切にしています。<hr><h1>3. Marvelous Designerを用いた制作パイプラインと工夫</h1><h4>【ワールド制作での活用事例：Floating Airship】</h4><ol><li>ワールドメッシュのインポート Marvelous Designerでは既存のワールドのメッシュをそのまま取り込めるため、「Floating Airship」の空間をインポートして活用していました。</li></ol>Floating AirshipをMarvelous Designerに取り込んだ際の画像 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/af120b968eb84f68a1249aa04c6b4d5d1-0.jpg" alt="af120b968eb84f68a1249aa04c6b4d5d" class="custom-image original-size" data-id="af120b968eb84f68a1249aa04c6b4d5d" data-width="2084" data-height="1398"> <ol start="2"><li>布や布団の物理演算配置 取り込んだ空間内に布や布団を物理演算で自然に配置することで、柔らかくリラックスできる雰囲気を実現しています。</li></ol>空間に布や布団を物理演算で配置 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/2659b1b071664681a990f03e492172bb1-1.jpg" alt="2659b1b071664681a990f03e492172bb" class="custom-image original-size" data-id="2659b1b071664681a990f03e492172bb" data-width="2086" data-height="1395"><ol start="3"><li>完成形 最終的に布の配置が空間全体の雰囲気を高め、居心地の良い滞在空間に仕上がりました。</li></ol>完成した空間 <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f990cd34979a453dbdc4bb8ba7e4791f1-3.jpg" alt="f990cd34979a453dbdc4bb8ba7e4791f" class="custom-image original-size" data-id="f990cd34979a453dbdc4bb8ba7e4791f" data-width="2896" data-height="4096"><hr><h1>【プロップ制作での活用事例：リュックサック】</h1><ol><li>Marvelous Designerでのモデリング リュックサックをMarvelous Designer上で制作しました。内部に空気を入れるような調整ができ、中身が詰まった自然なシルエットを表現可能です。 この段階では厚み付けは行わず、そのままBlenderへエクスポートします。</li></ol>Marvelous Designerで完成したリュックサック<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f41d31269f5a46d59cac47609fcc25cc2-1.jpg" alt="f41d31269f5a46d59cac47609fcc25cc" class="custom-image original-size" data-id="f41d31269f5a46d59cac47609fcc25cc" data-width="1863" data-height="1393"> <ol start="2"><li>Blenderでの調整 厚みのない状態でBlenderに取り込み、まずトポロジーを整えます。Marvelous Designerで型紙の角を丸めるとトポロジーが複雑になりやすいため、平面のままQuadRemesherをかけてクリーンなトポロジーを確保。その後、厚み付けモディファイアで必要な部分に厚みを追加します。</li></ol>Blenderに取り込んだ際の画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/a764dcb1345b4f6fb6b2566f0bae1e672-2-1.jpg" alt="a764dcb1345b4f6fb6b2566f0bae1e67" class="custom-image original-size" data-id="a764dcb1345b4f6fb6b2566f0bae1e67" data-width="2110" data-height="1399"> QuadRemesherでトポロジーを綺麗にして厚み付けした際の画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/9a8be7165f5844ce8429f00a7c14ef9c2-2-2.png" alt="9a8be7165f5844ce8429f00a7c14ef9c" class="custom-image original-size" data-id="9a8be7165f5844ce8429f00a7c14ef9c" data-width="1920" data-height="1080"><ol start="3"><li>UV展開 トポロジーを綺麗にすることで、厚み付け後のUV展開がスムーズになります。</li></ol>UV展開の全体画像<img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/a53f5e3be9fb4c0bb47939ff6ca0f6de2-3.png" alt="a53f5e3be9fb4c0bb47939ff6ca0f6de" class="custom-image original-size" data-id="a53f5e3be9fb4c0bb47939ff6ca0f6de" data-width="1920" data-height="1080">リュックの制作では、UV1とUV2を明確に役割分担しています。<hr><h5>■ UV1（テクスチャ用）</h5><ul><li>目的：Substance Painterでの質感表現を正しく出すため</li><li>方法：布の面と厚み部分を分離し、特に厚み部分は「直線的」に展開</li><li>利点：曲率マップやエッジマップが綺麗に働き、縫い目の汚れや角の摩耗を自然に追加できる。厚み部分が直線化されているとペイント時の歪みも防げる。</li></ul>UV1（布面＋厚み部分を直線化した展開） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/8eb1f8931c864d08976fcc910a256ec82-4.png" alt="8eb1f8931c864d08976fcc910a256ec8" class="custom-image original-size" data-id="8eb1f8931c864d08976fcc910a256ec8" data-width="1920" data-height="1080"><hr><h5>■ UV2（ライトマップ用）</h5><ul><li>目的：Unityでライトマップベイクした際の破綻防止</li><li>方法：布の面と厚み部分をつなげて展開し、シームを目立たなくする</li><li>利点：UV1のように分離すると解像度不足で縫い目に影やノイズが出やすいため、UV2ではなるべく連続的に展開。多少伸びてもライティング上は自然に見える。</li></ul>UV2（布面と側面をつなげて展開） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/f6681d2f046543739a9c243d598f07ca2-5.png" alt="f6681d2f046543739a9c243d598f07ca" class="custom-image original-size" data-id="f6681d2f046543739a9c243d598f07ca" data-width="1920" data-height="1080"><hr><ol start="4"><li>テクスチャリング（Substance Painter） UV1を丁寧に展開しておくことで、曲率マップが正しく機能。エッジに汚しや色の変化を加えることで質感を大幅に高められます。 </li></ol>Substance Painterでの画像（前面） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/66ce90d536354b859ef33d0962c5fa0f2-6-1.jpg" alt="66ce90d536354b859ef33d0962c5fa0f" class="custom-image original-size" data-id="66ce90d536354b859ef33d0962c5fa0f" data-width="1460" data-height="1382">Substance Painterでの画像（背面） <img src="https://storagefiles.clo-set.com/public/community/202510/953fe15334244aadbb9f6ea5ef164eec/images/b96f3088a1844a3baa1a20ac4081024e2-6-2.jpg" alt="b96f3088a1844a3baa1a20ac4081024e" class="custom-image original-size" data-id="b96f3088a1844a3baa1a20ac4081024e" data-width="1458" data-height="1388"><hr>MarvelousDesignerをリアルタイム環境で使う場合は、先の工程を意識しながら制作を進めることが重要です。

[JP] Lura: バーチャルリアリティーにおける快適な空間デザイン

MV2 Curly

joy.deng

<img src="https://storagefiles.clo-set.com/public/community/202606/0426208b538549909d801a059154c1be/images/89615f1e1a004d3a88b777b9e9f10da3PORTADA_cabecera%20copia.png" class="custom-image hidden-thumbnail" data-id="89615f1e1a004d3a88b777b9e9f10da3" data-width="1496" data-height="1125">Hola comunidad CLO,Me llamo Cecilia Renau y llevo meses viviendo dentro de CLO3D. Lo que empezó como el software de mi Máster en Moda Digital y Avatares se ha convertido en el idioma con el que pienso el diseño.Este es el primer post de una serie en la que voy a compartir el proceso completo de mi TFM: GS70, una colección de moda digital inspirada en el béisbol femenino y en los años 70. Seis looks, 2 avatares personalizados en DAZ Studio, entornos en Blender, tejidos desarrollados en Substance Sampler y, en el centro de todo, CLO3D como herramienta principal de construcción de prendas.<img src="https://storagefiles.clo-set.com/public/community/202606/0426208b538549909d801a059154c1be/images/642859b808be4cd6bb7dc54640c78befPORTADA_cabecera.png" alt="642859b808be4cd6bb7dc54640c78bef" class="custom-image original-size" data-id="642859b808be4cd6bb7dc54640c78bef" data-width="1701" data-height="1026">Pero no voy a hablar solo del resultado. Quiero contaros el proceso real: los errores, los workarounds, lo que descubrí por accidente y lo que tardé semanas en entender.Porque creo que la comunidad hispanohablante de CLO necesita más voz. Más gente compartiendo flujos de trabajo en castellano, más referentes, más conversación técnica.Bienvenidos a GS70. Esto es solo el principio.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Ev-E2Q_dEp8?si=7ZfTBIt6-zTuvH81" 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>TIP CLO del post: Empieza con el avatar correctoAntes de hacer el patrón, define el avatar. En GS70 usé avatares de DAZ Studio exportados a FBX e importados en CLO.Asegúrate de que el avatar está en T-pose o A-pose antes de la importación (yo lo hago con "Autoconvertir en Avatar") y no olvides revisar el cabello, para que CLO pueda importarlo debes activar la teselación (yo suelo usar un valor de 2). ¡Ah! Si dentro de CLO no ves las cejas selecciona todo el avatar y pon la opacidad al máximo. Al aumentar la opacidad seguramente los ojos serán completamente blancos, no te preocupes, selecciona las zonas blancas y baja la opacidad.Exporta todos los mapas del Avatar, no sólo los que DAZ empaqueta, tendrás que buscarlos y hacerlo a mano pero valdrá la pena.<hr><h1 style="text-align: center">¿Tienes alguna duda?</h1>¡Gracias por tu tiempo!

GS70: mi TFM en CLO3D — y por qué el 3D cambió cómo entiendo el diseño

VRChat

<h2 style="text-align: center">Step into a real-time character creation journey inspired by Netflix's 'Jibaro'! Join character artist Juhwan Jeon as he explores new creative horizons by blending AI technology with traditional 3D pipelines.</h2><h1><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/5912fa4bc7414448851f8afa3bca6baa1.jpg" alt="5912fa4bc7414448851f8afa3bca6baa" class="custom-image original-size" data-id="5912fa4bc7414448851f8afa3bca6baa" data-width="3840" data-height="2347">Please introduce yourself briefly and tell us what inspired you to start 3D design.</h1>Hello. My name is Juhwan Jeon, and I am currently working as a character artist in the gaming industry.I have loved animation and games since childhood, and was particularly fascinated by the process of realizing ultra-realistic graphics, which led me to pursue 3D design. This interest naturally guided me to major in a related field at university. Today, I specialize in creating game characters based on real-time rendering.<img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/f0d13d6dfece4d8791a9cca66cef10372.jpg" alt="f0d13d6dfece4d8791a9cca66cef1037" class="custom-image original-size" data-id="f0d13d6dfece4d8791a9cca66cef1037" data-width="3840" data-height="2347"><h1>Could you tell us about the project you have recently worked on?</h1>For a recent personal project, I created a female warrior character with a Persian flair. I was deeply inspired by the character 'Jibaro' from the Netflix series Love, Death &amp; Robots, especially the striking combination of ornate jewelry, intricate accessories, and an aesthetic that coexists as both beautiful and intimidating.Drawing from this inspiration, my goal was to craft a character that embodies both elegance and strength. To experiment with new production workflows, I also integrated AI technology into certain stages of the process.Rather than using AI as a direct asset generation tool, I utilized it to extract patterns for texturing and to recombine images to create novel design elements. I also leveraged AI during the initial modeling of the figure base to rapidly materialize my ideas.Personally, I view AI not as a technology to replace artists, but as a supportive tool to enhance workflow efficiency and explore new creative possibilities. I plan to continue experimenting with it in various ways moving forward.<h1><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/bc236f8d6fc94989b551025a47d34c4d3.jpg" alt="bc236f8d6fc94989b551025a47d34c4d" class="custom-image original-size" data-id="bc236f8d6fc94989b551025a47d34c4d" data-width="2048" data-height="2200"><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/94c768b128de4615a1fa391333aae83f2_1.jpg" alt="94c768b128de4615a1fa391333aae83f" class="custom-image original-size" data-id="94c768b128de4615a1fa391333aae83f" data-width="2048" data-height="2200"><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/ce463ecd34da459197af7bba6a33425d2_2.jpg" alt="ce463ecd34da459197af7bba6a33425d" class="custom-image original-size" data-id="ce463ecd34da459197af7bba6a33425d" data-width="2048" data-height="1700">Could you provide a brief overview of the various tools used in your pipeline?</h1>For this project, I crafted the hard-surface elements using 3ds Max, and designed the garments utilizing Marvelous Designer and ZBrush. Texturing was completed in Substance 3D Painter, and the final rendering was executed in Unreal Engine 5.For the garment creation, as I lacked specialized fashion design knowledge, I began with the simplest possible shapes and utilized Marvelous Designer only where necessary. I believe there is a limit to expressing natural wrinkles solely through manual work. Therefore, I first established the overall silhouette and major folds in Marvelous Designer, and then refined the detailed wrinkles using ZBrush's Dynamics feature along with additional sculpting.<img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/3b09607c951b455e8403c034a77041554.png" alt="3b09607c951b455e8403c034a7704155" class="custom-image original-size" data-id="3b09607c951b455e8403c034a7704155" data-width="1433" data-height="863"><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/159d6fe8124c4c5eaf0280704cb309f75.jpg" alt="159d6fe8124c4c5eaf0280704cb309f7" class="custom-image original-size" data-id="159d6fe8124c4c5eaf0280704cb309f7" data-width="1797" data-height="780"><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/28439212fa2242aea18ed4eaff1083df3_1.png" alt="28439212fa2242aea18ed4eaff1083df" class="custom-image original-size" data-id="28439212fa2242aea18ed4eaff1083df" data-width="1563" data-height="867"><h1>Every project comes with its own highlights and challenges. What was the most enjoyable part of the process for you, and what did you find the most challenging?</h1>A: My favorite part of the workflow is crafting realistic, hard-surface-based accessories. I also thoroughly enjoy the texturing process, where I can express different material finishes and wear-and-tear to breathe life and realism into a character. Seeing these meticulous details accumulate to complete a single character brings me a profound sense of accomplishment and joy as a character artist.Conversely, the most challenging aspect was applying in-engine simulations to give the finished character a more natural and dynamic sense of life. Managing a multitude of features and settings simultaneously during the rendering stage felt quite complex, but through a process of trial and error, I was able to get closer to my desired outcome.<h1><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/e5e800ee415549cdac1ddfb94ecde38b6.jpg" alt="e5e800ee415549cdac1ddfb94ecde38b" class="custom-image original-size" data-id="e5e800ee415549cdac1ddfb94ecde38b" data-width="3840" data-height="2560"><img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/9ec2196a3c944dc0a5165eb114f34a617.jpg" alt="9ec2196a3c944dc0a5165eb114f34a61" class="custom-image original-size" data-id="9ec2196a3c944dc0a5165eb114f34a61" data-width="3840" data-height="2560"></h1><h1>Lastly, do you have any advice for those who are just starting out in 3D art? This could be career advice, the mindset needed when creating artwork, or anything else you'd like to share.</h1>A: Since I am not someone with extraordinary natural talent—much like most people—I believe that consistency and patience are far more critical to becoming a great character artist. As you work, you will inevitably face countless trials and errors, but I believe the experiences gained through that process are what ultimately translate into true skill.Additionally, keeping an open mind toward new tools and technologies is essential. Recently, new technologies, including AI, are emerging at a rapid pace, and actual production workflows are constantly evolving. I, too, am continuously learning to ensure I do not fall behind, and I believe the ability to adapt to these changes will only become increasingly important in the future.<img src="https://storagefiles.clo-set.com/public/community/202606/690f48f7cb784e2688451fe60488dbc2/images/f523f007ac9140149509629f0192aff48.jpg" alt="f523f007ac9140149509629f0192aff4" class="custom-image original-size" data-id="f523f007ac9140149509629f0192aff4" data-width="3840" data-height="2347"><h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/EzrOPn">Artstation</a></h1>

Persian Female Warrior - Real-time Character

Collection A

Cut, Slash & Corset

Gender & Age

Style

Genre & Mood

Objective

inZOI

Garment

YKK Shank Buttons

<h1 style="text-align: center">Are you getting these alerts when importing your custom avatar?</h1><img src="https://storagefiles.clo-set.com/public/community/202502/12dc15957be44852b7ec66959a774353/images/596ac93da385443299075c073c4fbd0eimage.png" class="custom-image original-size" data-id="596ac93da385443299075c073c4fbd0e" data-width="1953" data-height="511">"Arrangement points were not fitted to the avatar. The avatar must be in a T-pose or A-pose."Or "Fitting Suit cannot be created. The avatar must be in a T-Pose or A-pose"There can be a lot of reasons that you might see these errors. First, always best check the "Best Practice Checklist" below and see if it matches what you have so far!Best Practice Checklist for Importing Avatars<ul><li>Avatar is 1 mesh body</li><li>Avatar has closed geometry (no holes)</li><li>Avatar is 1,200-2,000 millimeters tall</li><li>Avatar is in an A-Pose</li><li>Avatar has 2 arms, 2 legs, 1 head</li><li>Importing a OBJ or FBX file type</li><li>Correct normal direction (normals facing outward)</li></ul>After double checking (or not, it will be covered in the flowchart) we can move onto the flow chart.<img src="https://storagefiles.clo-set.com/public/community/202502/12dc15957be44852b7ec66959a774353/images/c39f3d2fe4514096ad22d1d1f3266a9dimage.png" class="custom-image original-size" data-id="c39f3d2fe4514096ad22d1d1f3266a9d" data-width="891" data-height="1121">If you are stuck or end up in the "contact support" portion. Make sure to contact the software support team of the software you are using: <ul><li>For Marvelous Designer: <a target="_blank" rel="noopener noreferrer nofollow" href="https://marvelousdesigner.com/support/contact">https://marvelousdesigner.com/support/contact</a></li><li>For CLO: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.clo3d.com/en/support">https://www.clo3d.com/en/support</a></li></ul>

Troubleshooting: Auto Fitting and Arrangement Points

Motion

[JP] Lura: バーチャルリアリティーにおける快適な空間デザイン

Marvelous Designer Official

Marvelous Designer Official