<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>Visualizing the characters' backstories- their likes, dislikes, occupation, hobbies, etc.- the garment is the most significant part of the storytelling.</em></span></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/b27acf50c8bb43d8b46d109d5ed6b998till1.gif" class="custom-image original-size" data-id="b27acf50c8bb43d8b46d109d5ed6b998" data-width="432" data-height="540"><h1 style="text-align: center"><strong>Interview with Nishigandha Sahasrabudhe | </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nishigandhasahasrabudhe8"><strong>Till Death Do Us Part Indeed</strong></a><strong> | 3D Artist</strong></h1><hr><h1><strong>Artist Introduction</strong></h1><p>I am a 3D artist based out of Mumbai, India, who loves creating artwork in which the characters have unique little stories to tell. Having graduated in visual design, I started working professionally as a UI/UX designer and simultaneously started dabbling in the world of 3D art. I was always fascinated by 3D animated movies and games from an early age and wondered how the artists brought such breathtaking worlds to life. Soon this awe turned into a strong desire to try illustrating in 3D myself, so I slowly started exploring sculpting objects and characters in various 3D software and have never looked back since. Being self-taught has its challenges, but my love for 3D makes me want to explore and learn something new daily.</p><h1><strong>What inspires you as an artist?</strong></h1><p>Visualizing the characters' backstories- their likes, dislikes, occupation, hobbies, etc.- is one of my favorite processes in creating artwork. These backstories shape up the character, quite literally. I sculpt, texture, and light my illustrations, which I enjoy and have fun with.&nbsp; As I mentioned, I love to tell unique stories through my artwork and strive to make my scenes and characters as expressive as possible. I aspire to create art that can be seen, enjoyed, and experienced by all, and that inspires me and keeps me going.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/4bbc60571b1748868405c1c0aa610431till2.jpg" class="custom-image original-size" data-id="4bbc60571b1748868405c1c0aa610431" data-width="1432" data-height="1080"><h1><strong>How would you describe your artwork stylistically?</strong></h1><p>I want to describe my art as more “stylized” than realistic. Although I like to encapsulate and add real-world details into my pieces, my art style would definitely fall more into the cartoon / stylized domain.</p><h1><strong>What is the story behind the piece?</strong></h1><p>This piece is about a beautiful, mysterious woman who charms her lovers and leads them into perfidious situations. I have always wanted to create a villainous character, but I wanted to avoid the obvious visual cues that are generally used to depict a villain or an evil character. So I tried to explore and push the style and tried to depict the corrupt motives of the character using facial form and expressions. Everything about the character, including her beautiful features and gorgeous clothes, contrasts her dark, murderous personality.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/4a18cfb0ff9f44799762dcf264989aa2till3.jpg" class="custom-image original-size" data-id="4a18cfb0ff9f44799762dcf264989aa2" data-width="1080" data-height="1350"><h1><strong>What is this character? Are they a part of a larger story?</strong></h1><p>Yes, it is a part of a larger story. The main character is a beautiful, mysterious woman who charms her lovers and leads them into perfidious situations. In this one, she is in her wedding gown and looks like someone who has just accomplished what she had set out for. The apple, with the green glow, is a poisoned apple, and the fact that one bite has been taken from it signifies that she has just turned her latest prey into her victim.</p><h1><strong>How does the garment contribute to the storytelling?</strong></h1><p>The garment is the most significant part of the story. The witch’s preys are wealthy but asinine men who fall for her beauty and ignore all the warning signs. She feeds off such men to further her wicked motives. Her usual method is, making the men fall head over heels in love with her, marrying her, and then slaughtering them on her wedding night. A poisoned apple is her choice of weapon. The witch is swift and clean and leaves no traces once she has made her kill. The poisoned apple makes it easy and leaves no mess. The beautiful gown conveys that she is either just married or about to get married. The style indicates an older time period. The gorgeous gown shows her sophisticated taste and gives clues about her personality. In this piece with no background, the garment is an excellent indicator to hint at the character and the story.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/31ba9a6d582a4936b43d1f3323c4ee95till4.jpg" class="custom-image original-size" data-id="31ba9a6d582a4936b43d1f3323c4ee95" data-width="1080" data-height="1350"><h1><strong>Where did you use Marvelous Designer on this piece?&nbsp;</strong></h1><p>The complete gown and the veil have been created using Marvelous Designer.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/2fcf11f762df4732ae536d2221acb81dtill5.png" class="custom-image original-size" data-id="2fcf11f762df4732ae536d2221acb81d" data-width="936" data-height="1253"><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/c64efc6c33484bf59e7c0984e0d93306till6.png" class="custom-image original-size" data-id="c64efc6c33484bf59e7c0984e0d93306" data-width="936" data-height="1253"><h1><strong>Why is Marvelous Designer the best choice for digital apparel creation?</strong></h1><p>Marvelous Designer allowed me to experiment with digital clothing patterns and different styles for the outfit. The garment easily forming (from) just 2D patterns helped me visualize how the final piece would look. The cloth simulations helped with capturing the flow of the garment accurately. It’s a very intuitive tool to work with. Creating this garment with any other tool wouldn’t have been so simple.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/dc2b4395e14e457888c13ca985b8c4e8till8.png" class="custom-image original-size" data-id="dc2b4395e14e457888c13ca985b8c4e8" data-width="2048" data-height="1152"><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/60a5dab2491f462eb9c7081ad30719detill9.png" class="custom-image original-size" data-id="60a5dab2491f462eb9c7081ad30719de" data-width="2048" data-height="1152"><h1><strong>What were the ups &amp; downs in creating this piece?</strong></h1><p>I am relatively new to Marvelous Designer software. I have used it before, but not as intensively as in this piece. Figuring out the 2D patterns and stitching the pieces together was one of the process’s most difficult parts since I had minimal sewing knowledge. That was challenging, but seeing your digital garment simulate and drape over your character perfectly was extremely rewarding.</p><h1><strong>Can you share any tips and tricks with Marvelous Designer with the community?</strong></h1><p>Finalizing the dress design and the pattern and having a clear vision of what design I wanted to go with helped me a lot throughout the process and made the process much faster. The abundant tutorials and videos made available by Marvelous Designer helped me a great deal while creating this piece. Instead of following one tutorial step by step, having a vision and finding answers to questions helps a lot while learning any new tool.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/b1b358d706704ba9b44822dcee73b24ftill10.jpg" class="custom-image original-size" data-id="b1b358d706704ba9b44822dcee73b24f" data-width="1920" data-height="1080"><h1><strong>What new things did you learn on this project that you might want to share?</strong></h1><p>I consider myself relatively new to the software, so I learned a great deal while working on this piece. Learning how to break up the garment correctly into pieces, stitch them up, and how to have fabrics layered one on top of the other without making them interact/collapse into one another is something I learned. Although I did not use this in the end piece, I also learned how to add animation to your avatar and make the garment respond after being draped on the T pose to the final pose of the avatar along with its interaction with the background elements is something I had fun exploring too.</p><img src="https://storagefiles.clo-set.com/public/community/202501/b41b2b949aa5485b9dc51e7b8e7202bf/images/53856a0e65f548c1ad424789ca0219d9till11.jpg" class="custom-image original-size" data-id="53856a0e65f548c1ad424789ca0219d9" data-width="5333" data-height="5333"><h1><strong>What were some unexpected outcomes that occurred while working on this?</strong></h1><p>I started this piece feeling extremely overwhelmed and intimidated, thinking of the task’s complexity. But the process felt very intuitive, and I enjoyed it more than I thought I would. I started exploring a lot of fashion trends and tweaked my pose and character a bit so it matched and showed off the garment.&nbsp;</p><p>Suppose you're looking for a powerful design software for creating digital garments that's easy to use. Marvelous Designer 12 is perfect for you! It's available on Windows and macOS, and personal licenses are perfect for freelancers or small studios. Enterprise licenses are also available if you're working with a larger team.</p><p></p><p></p><p><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/nishigandhasahasrabudhe8"><strong>Artstation</strong></a></p>

Till Death Do Us Part Indeed 

H-line Long Skirt Block_FV

xina365

<p><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"><span>Hola comunidad CLO,</span></p><p>Me llamo Cecilia Renau y llevo meses viviendo dentro de CLO3D. <strong>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.</strong></p><p>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 <strong>DAZ Studio</strong>, entornos en <strong>Blender</strong>, tejidos desarrollados en <strong>Substance Sampler</strong> y, en el centro de todo, <strong>CLO3D</strong> como herramienta principal de construcción de prendas.</p><p><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"></p><p>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.</p><p>Porque creo que la <strong>comunidad hispanohablante de CLO</strong> necesita más voz. Más gente compartiendo flujos de trabajo en castellano, más referentes, más conversación técnica.</p><p><strong>Bienvenidos a GS70. Esto es solo el principio.</strong></p><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><p></p><p><strong><em><u>TIP CLO del post: Empieza con el avatar correcto</u></em></strong></p><p><em>Antes de hacer el patrón, define el avatar. En GS70 usé avatares de DAZ Studio exportados a FBX e importados en CLO.</em></p><p><em>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.</em></p><p><em>Exporta todos los mapas del Avatar, no sólo los que DAZ empaqueta, tendrás que buscarlos y hacerlo a mano pero valdrá la pena.</em></p><hr><h1 style="text-align: center"><strong>¿Tienes alguna duda?</strong></h1><p style="text-align: center"><strong>¡Gracias por tu tiempo!</strong></p>

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

<h2 style="text-align: center"><span style="font-family: &quot;Times new roman&quot;"><em>From Hobby to Mastery: Juhee Kim, a game character modeler, shares her journey into 3D art and the challenges of creating dynamic characters.</em></span></h2><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/7f6dd77b25544ad698eac16e2337ecee1-.jpg" class="custom-image original-size" data-id="7f6dd77b25544ad698eac16e2337ecee" data-width="2100" data-height="1540"><p></p><h1 style="text-align: center"><strong>Interview with Juhee Kim | </strong><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/artwork/L4kLLv"><strong>Bone whip woman</strong></a><strong> | Game character modeler</strong></h1><h1><strong>We would like to know more about you, Juhee. Please briefly introduce yourself and explain how you started working in 3D.</strong></h1><p>Hello, I am Juhee Kim, a game character modeler. Since childhood, I have been fascinated by unique character art and have developed a deep interest in art by appreciating various works. I had a hobby of making things by folding, cutting, and pasting by hand, and through this process, I naturally became interested in creating 3D characters.</p><p>Currently, I enjoy bringing captivating concept art to life in 3D. I focus on enhancing the individuality and details of each character to increase immersion.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/a3497e0d6b054cc6b3e8cab72556032a2.jpg" class="custom-image original-size" data-id="a3497e0d6b054cc6b3e8cab72556032a" data-width="3000" data-height="4000"><p></p><h1><strong>Could you please explain in detail about your recent project, 'Bone Whip Woman'?</strong></h1><p>This character is a strong and weighty warrior, contrasting with the cute and pretty images I have previously created. This project focused on battle and wandering, emphasizing the delicate depiction of the character's torn and tattered cape, clothing, and equipment.</p><p>A lot of leather material was used, requiring the expression of various textures, and working with bone details, which are not commonly seen, was challenging but very enjoyable.</p><p>Lastly, I concentrated on conveying a sense of loneliness while emphasizing the dynamic movement of the hair and cape.</p><p></p><h1><strong>Your work using Marvelous Designer is impressive. Do you have any advice or tips for Marvelous Designer users based on your experience with this project?</strong></h1><p>I believe Marvelous Designer is a very useful tool for shaping the basic form of clothing. It allows for much more efficient and realistic creation compared to imagining and manually creating folds. Instead of obsessing over detailed folds, I recommend shaping the basic form of the folds first and then gradually sculpting them in ZBrush.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/5c2fbce56a854755b7380e1f734afcd93.jpg" class="custom-image original-size" data-id="5c2fbce56a854755b7380e1f734afcd9" data-width="2553" data-height="1385"><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/70af7ca5ae1b4314b1db85b7fb63d0344.jpg" class="custom-image original-size" data-id="70af7ca5ae1b4314b1db85b7fb63d034" data-width="2796" data-height="2576"><p></p><p>For the cape around the neck, I divided it into several parts, used pins to shape it, and managed each part individually using the freeze function. If I had made it as a single long piece of fabric, it would have been much harder to control.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/6f8e7a87c44045eebdf489e1170171d15.jpg" class="custom-image original-size" data-id="6f8e7a87c44045eebdf489e1170171d1" data-width="2553" data-height="1391"><p></p><p>Additionally, the cape needed to appear as if it was blowing in the wind. Using Marvelous Designer's wind simulation feature, I could easily create the desired shape. The most challenging part was adjusting the values of various options until I achieved the desired look. It requires patience and persistence to keep adjusting until a natural form is achieved, so it's important not to give up.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/686ca98f36ea447496f556e4963e4be66.jpg" class="custom-image original-size" data-id="686ca98f36ea447496f556e4963e4be6" data-width="2547" data-height="1383"><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/b0d9282de3fb407d977b9d0db43055ae7.jpg" class="custom-image original-size" data-id="b0d9282de3fb407d977b9d0db43055ae" data-width="2640" data-height="3000"><p></p><h1><strong>Could you provide a brief overview of the various tools used in the pipeline?</strong></h1><p>Using Marvelous Designer, I created the basic forms of not only the clothing but also detailed elements like gloves. For necessary parts, I utilized the retopology feature built into Marvelous Designer to create UVs in advance.</p><p>After that, I performed basic modeling and hair/fur work in 3ds Max, and high-polygon work in ZBrush. The baking process was done using Marmoset Toolbag, and texture painting was completed in Substance Painter.</p><p>Finally, I set up the background and lighting in Marmoset Toolbag to complete the final rendering.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/fba7cd1550694012a9d5963f4ab8489f8%285%EB%B2%88%EC%A7%88%EB%AC%B8%EC%9D%98%20%EC%96%BC%EA%B5%B4%203%EA%B0%9C%20%EC%9D%B4%EB%AF%B8%EC%A7%80%EC%97%90%EC%84%9C%20%EB%8C%80%EC%B2%B4%ED%95%A9%EB%8B%88%EB%8B%A4%29.jpg" class="custom-image original-size" data-id="fba7cd1550694012a9d5963f4ab8489f" data-width="3000" data-height="1887"><p></p><h1><strong>When working on a project, there must be parts you enjoy the most and parts that are challenging. What was the most enjoyable part of the process for you?</strong></h1><p>I enjoy refining the base mesh created in Marvelous Designer in ZBrush. I find great satisfaction in cleaning up unclear boundaries and considering cross-sections and seams while sculpting details.</p><p>Creating the face was also interesting. Although it was the most challenging task, I enjoyed both the sculpting and texturing processes. I particularly remember trying to depict realistic makeup in Substance Painter.</p><p></p><h1><strong>What was the biggest challenge you faced while working on the project?</strong></h1><p>There were many unique considerations, such as creating fur and simulating wind-blown effects, which made it difficult to get a feel for each stage of the process. Among these, creating the hair was particularly challenging because it needed to have a dynamic, wind-blown shape rather than a static one. I went through a lot of trial and error to get the silhouette right.</p><p>However, once I started to get a feel for it and the silhouette began to match my envisioned image, things started to fall into place. At that moment, my mindset shifted to one of enjoyment. It seems like this is a process I have to go through every time.</p><p></p><h1><strong>Lastly, do you have any advice for those starting in 3D art? This could be career advice or tips on mindset when creating artwork.</strong></h1><p>I believe it is very important to seek help and advice from others. As I am still learning, I constantly question my work and strive to improve it.</p><p>Additionally, I think it is crucial to view as many works as possible and collect references. Referring to various materials is essential for enhancing the quality of your work.</p><p>I also find it meaningful to take screenshots or keep simple records at each process stage. This not only helps track the progress of your work but also serves as useful reference material for future projects.</p><p>Lastly, don't strive for perfection too much. I encourage you, as a fellow artist, to enjoy the process and see it through to the end. Thank you.</p><img src="https://storagefiles.clo-set.com/public/community/202501/9f47dfa8ed1040fea555e997e62d9869/images/34378290f2ab47e288a351fcb7f49ce59.jpg" class="custom-image original-size" data-id="34378290f2ab47e288a351fcb7f49ce5" data-width="3000" data-height="3000"><p></p><h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/juheehee"><strong><em>Link to Artstation</em></strong></a></h1><p></p>

Till Death Do Us Part Indeed

Marvelous Designer Official

Marvelous Designer Official