<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/cc0033acedaa434fa1a41d1dfb90da93/images/c0af86fbef0d47da8d62a9f46a8343a5bora-kim-4.jpg" class="custom-image hidden-thumbnail" data-id="c0af86fbef0d47da8d62a9f46a8343a5" data-width="1920" data-height="1220">Meet the 'Girl Student' by Bora Kim —a stunning blend of creativity and technology crafted using Marvelous Designer.</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/209ce26ef56246f6ac195e84a40689ab%E5%A5%B3%E5%AD%A6%E7%94%9F1.jpg" class="custom-image original-size" data-id="209ce26ef56246f6ac195e84a40689ab" data-width="3200" data-height="3936"><h1 style="text-align: center">Interview with Bora Kim | Girl Student | 3D Artist</h1><hr><h1>Following our previous interview about your Selfie Girl artwork, you've returned with another incredible piece. Could you share a bit about your latest work, 'Girl Student'?</h1>Hello, this is Bora Kim, and I'm delighted to be back. This time, the theme of my artwork is a girl sitting in a classroom after school. The idea began with a simple desire to create a character in a school uniform. I initially considered settings like a playground or park, but ultimately, I chose a classroom for its deeper sense of nostalgia and memories.<h1>I understand that you're currently working as a character modeler, and with each piece, the background and prop details seem to be becoming more intricate. As the backgrounds become more detailed, they also encourage viewers to imagine the story behind the character. I'm curious if this is an intentional approach—do you work with the idea of how you'd like the audience to imagine the character's story?</h1>I believe many people have experienced the quietness of school after classes, the sense of relief after a day's work, and the anticipation for tomorrow. I hope that when people view this artwork, they don't just focus on the character but also find themselves reminiscing about their own childhood or feeling a sense of connection through the background and small props.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/b353d6ef0f8f4af18e7f6046f9f5e4f5%E5%A5%B3%E5%AD%A6%E7%94%9F4.jpg" class="custom-image original-size" data-id="b353d6ef0f8f4af18e7f6046f9f5e4f5" data-width="2857" data-height="1837"><img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/2ec2fcfa6f67478fab250edb22915954%E5%A5%B3%E5%AD%A6%E7%94%9F2.jpg" class="custom-image original-size" data-id="2ec2fcfa6f67478fab250edb22915954" data-width="3840" data-height="2440"><img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/a6c138ca9f1449cb8709a9b7d4645463%E5%A5%B3%E5%AD%A6%E7%94%9F3.jpg" class="custom-image original-size" data-id="a6c138ca9f1449cb8709a9b7d4645463" data-width="3544" data-height="1700"><h1>From the character to the background, which aspects did you focus on while working on each element?</h1>Since the character is a student, I wanted to convey a sense of unadorned innocence, so I focused on features like light makeup, a comfortable oversized hoodie, and a neat school uniform. For the background, I emphasized recreating elements based on relatable memories, such as the wooden floor, curtains, fluorescent lights, wall colors, and the marble beneath the windows.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/219fa3f1a90e46b8acc731d4d7fab0db6.jpg" class="custom-image original-size" data-id="219fa3f1a90e46b8acc731d4d7fab0db" data-width="3898" data-height="4722"><img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/01f177a557944b8580ff9f8b50e50862%E5%A5%B3%E5%AD%A6%E7%94%9F2.jpg" class="custom-image original-size" data-id="01f177a557944b8580ff9f8b50e50862" data-width="3840" data-height="2440"><h1>I'm curious to know which parts of your work were created using Marvelous Designer？</h1>I used Marvelous Designer for all aspects involving fabric, such as the character’s school uniform, ribbon, hoodie, hair tie, and even the clothes on the rabbit attached to the bag, as well as the curtains in the classroom. For the school uniform shirt, I started with a shirt from the Marvelous Designer library as the base, fitted it to the character's body, and then created and matched the vest and skirt. To form the pleats in the skirt, I drew lines for folds both inside and outside and adjusted the Fold Angle value to create the desired shape.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/20798cdce0a64a1daf3689b4856ce3dc%E5%A5%B3%E5%AD%A6%E7%94%9F5.jpg" class="custom-image original-size" data-id="20798cdce0a64a1daf3689b4856ce3dc" data-width="2560" data-height="1399">The hoodie required creating a 2D pattern for the shoulders, arms, and underarms that was wider than expected to achieve the oversized fit. After completing the creation, I imported the rigged animation to set various poses. Finally, I fixed one side of the hoodie to drape off the shoulder, easing the restrictive feeling of the uniform.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/f5167050129d4fdcb7099df763154d28%E5%A5%B3%E5%AD%A6%E7%94%9F6.jpg" class="custom-image original-size" data-id="f5167050129d4fdcb7099df763154d28" data-width="2560" data-height="1399">For the curtains in the background, I first created a rod that would act as the avatar, then hung the fabric on it. Adjusting the width of the curtains made it easier to form the pleats. After that, I used the Wind Controller to simulate the effect of the thin fabric fluttering in the breeze from the window. I set up the wind in the direction it would blow, adjusted the Strength to an appropriate value, and experimented with turbulence and frequency settings until I achieved the desired look.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/b75fefe67437459a8b85af48edd18746%E5%A5%B3%E5%AD%A6%E7%94%9F8.jpg" class="custom-image original-size" data-id="b75fefe67437459a8b85af48edd18746" data-width="2560" data-height="1399">I also created and used various other simple props.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/6a880c4f02024691b477d190fca8d62a10.jpg" class="custom-image original-size" data-id="6a880c4f02024691b477d190fca8d62a" data-width="2560" data-height="1399"><img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/3fb19a6f94eb4f2d8a970637671d779012.jpg" class="custom-image original-size" data-id="3fb19a6f94eb4f2d8a970637671d7790" data-width="2560" data-height="1399"><img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/8da9a9ec60e447969e664b1598d2d3d4%E5%A5%B3%E5%AD%A6%E7%94%9F7.jpg" class="custom-image original-size" data-id="8da9a9ec60e447969e664b1598d2d3d4" data-width="2560" data-height="1399"><h1>Did you find any unique advantages of using Marvelous Designer during this project?</h1>One of the major advantages of Marvelous Designer is its ability to quickly run simulations and adjust folds when the character takes different poses or when the clothing design changes. This flexibility in correcting and exporting the folds is a significant strength. Additionally, I found it convenient to obtain a cleaned-up low-poly mesh through the ZBrush plugin.<h1>If there was an impressive story during the project, could you share it?</h1>During this project, due to personal circumstances, the working period was extended. As the seasons changed, I adjusted the school uniform design from summer to autumn attire, eventually adding a hoodie. I also changed the hairstyle from a ponytail to a half-up style, and finally to a bob cut. Although the work seemed never-ending at times, step by step, it eventually came together. Even though I felt anxious as time passed, I gained valuable insights from the trial and error, making it a worthwhile experience.Thank you for your interest in my work and for taking the time to read this.<img src="https://storagefiles.clo-set.com/public/community/202412/cc0033acedaa434fa1a41d1dfb90da93/images/c348616f2aee45e1a5612921477f76c513.jpg" class="custom-image original-size" data-id="c348616f2aee45e1a5612921477f76c5" data-width="3840" data-height="2440"><h1>by&nbsp;Bora Kim <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/bbora">Artstation</a></h1>

Girl Student

<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/b16c7780fc0f416caddd4a95f5df96f9/images/bb50e44c127b49aba155ce3c18ac3f5fHeader_thumb%20%282%29.png" class="custom-image hidden-thumbnail" data-id="bb50e44c127b49aba155ce3c18ac3f5f" data-width="1240" data-height="652">"<a target="_blank" rel="noopener" class="ng-star-inserted" href="https://yoyogi-mori.booth.pm/">YOYOGI MORI</a>" is a 3D avatar clothing brand operated by Tenju Co., Ltd. It is a creative collective dedicated to producing captivating virtual wear under the slogan "A brand you can rely on for the long term."</h2><h2 style="text-align: center">In this interview, we speak with a YOYOGI MORI designer responsible for 3D patterning, using Marvelous Designer and avatar setup. They discuss their dedication to the craft of fashion production and the philosophy behind the brand.</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/xxdzw0Ajep4" 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>Artist and Brand Introduction</h2>Q. First, could you please introduce yourself and "YOYOGI MORI"? What kind of activities do you do?A. "YOYOGI MORI" is a 3D avatar clothing brand operated by Tenju Co., Ltd. It is a circle activity that creates attractive virtual wear through collaborations with various creators. After graduating from Bunka Fashion College, I joined Tenju Co., Ltd. with whom I had a relationship while still a student.Currently, I am mainly in charge of 3D sewing using Marvelous Designer, avatar setup, and product production management. Personally, I also create real-world costumes and engage in musical activities.<hr><h2>Brand Theme and Aesthetics</h2>Q. YOYOGI MORI's works have a unique worldview and fashion sense. Please tell us about the themes and aesthetics the brand cherishes.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/7bbebb98256a40d389ee203c3d7531e1bca8c654-0a11-4b3b-93e1-bdce01ceb55f_base_resized.jpg" alt="7bbebb98256a40d389ee203c3d7531e1" class="custom-image original-size" data-id="7bbebb98256a40d389ee203c3d7531e1" data-width="1024" data-height="1024">A. Our goal is for YOYOGI MORI to be recognized by users as "a brand they can rely on for the long term." To achieve this, we go beyond simply selling 3D avatars; we provide an experience where value continues to rise after purchase through continuous updates and support. Furthermore, by expressing a consistent worldview across the entire brand rather than treating works as standalone items, we aim to be an entity where "owning a YOYOGI MORI product is in itself a status symbol and a proof of reliability."Our stated brand philosophy is "to cultivate a culture of cherishing 3D avatars." We view avatars not merely as data, but as extensions of one's own body. By setting appropriate prices and clear terms of use, we provide peace of mind to users while building a foundation where creators can work healthily. We will continue our activities with the ideal vision of a future where "grandparents can gift avatars to their grandchildren," while returning value to both users and creators.<hr><h2>Significance of Fashion in VRChat</h2>Q. What appeal or significance do you feel in creating fashion for VRChat?<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/ea17642397884b37a01b9a5bf75996591d75b322-cc49-4b43-a2fa-6c14b43ba129_base_resized.jpg" alt="ea17642397884b37a01b9a5bf7599659" class="custom-image original-size" data-id="ea17642397884b37a01b9a5bf7599659" data-width="1024" data-height="1024">A. As a clothing enthusiast, I love the feeling of engaging in cutting-edge creation within the apparel industry, which has such a long history. I see great potential in "virtual wear"—a form of clothing creation that is possible precisely because of the era we live in.<hr><h2>Production Flow with Marvelous Designer</h2>Q. How is Marvelous Designer utilized in your usual production workflow?A. [Pattern Making and Sewing] After creating and sewing the patterns, I use layer functions and strengthening to roughly approach the final shape. Since this design utilized many pleats, I used the Pleats function. Unsewn parts tend to float, so I used tacks to hold them down and make them look neat.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/aa48403fbe4743c0b129da757d7076af%E5%9E%8B%E7%B4%99.png" alt="aa48403fbe4743c0b129da757d7076af" class="custom-image original-size" data-id="aa48403fbe4743c0b129da757d7076af" data-width="1589" data-height="1000"><img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/eeb2d14656e54b3ca7a86668d5c955f7%E3%82%BF%E3%83%83%E3%82%AF.png" alt="eeb2d14656e54b3ca7a86668d5c955f7" class="custom-image original-size" data-id="eeb2d14656e54b3ca7a86668d5c955f7" data-width="1571" data-height="1001">Pattern making using the Pleats function and Tacks[Simulation and Wrinkle Creation] To create the desired wrinkles, I re-simulate while gradually changing settings and patterns, using partial freezing or pins during this process. If symmetrical wrinkles are acceptable, I find it convenient to detail one side, then use partial solidification (except near the seam allowance) to create a symmetric pattern.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/2fb780d5b34a470aa2b01feabc8166dc%E3%82%B7%E3%83%AF%E3%81%AE%E4%BD%9C%E3%82%8A%E3%81%93%E3%81%BF.png" alt="2fb780d5b34a470aa2b01feabc8166dc" class="custom-image original-size" data-id="2fb780d5b34a470aa2b01feabc8166dc" data-width="1385" data-height="672"><img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/baa3bde7c1a844a4b1dafceedc6005a4%E9%83%A8%E5%88%86%E5%9B%BA%E5%AE%9A.png" alt="baa3bde7c1a844a4b1dafceedc6005a4" class="custom-image original-size" data-id="baa3bde7c1a844a4b1dafceedc6005a4" data-width="742" data-height="741">Adjusting wrinkles using pins and partial freezing[Final Details] In 3D, how you create "cool wrinkles" changes the density of information and the final impression, so I put a lot of effort into parts that are likely to move. I think the best part of Marvelous Designer is the ability to create wrinkles that convey fine material texture. Since unwanted wrinkles can be removed later, I focus on building it up to a state where the wrinkles look cool as the finished form.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/20272871bca44a70833f13635e86023c%E5%AE%8C%E6%88%90.png" alt="20272871bca44a70833f13635e86023c" class="custom-image original-size" data-id="20272871bca44a70833f13635e86023c" data-width="1372" data-height="668"><img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/c8a04911e42e476b91dc98ee3d2d92bf%E3%83%87%E3%82%A3%E3%83%86%E3%83%BC%E3%83%AB.png" alt="c8a04911e42e476b91dc98ee3d2d92bf" class="custom-image original-size" data-id="c8a04911e42e476b91dc98ee3d2d92bf" data-width="1175" data-height="677">Wrinkle details on the finished outfit<hr><h2>Role and Benefits in Team Production</h2>Q. I understand YOYOGI MORI is a small team production. Are there any moments in the process where Marvelous Designer proves particularly useful?A. If we are talking about the benefits of a small team, it's that each person's area of expertise is easily utilized. I believe that having someone who loves clothes handle the clothing parts results in a better product than having a 3D modeler try to sculpt "clothing-like" wrinkles. A major advantage is being able to achieve differences in fabric texture and wrinkles resulting from patterns, which are difficult to express with the sculpting functions found in existing 3D tools. Also, conceptually speaking, since we can create models just like drafting actual clothing patterns, it allows us to imbue the finished product with a persuasive power as clothing, which is a wonderful point.<hr><h2>Production Challenges and Solutions</h2>Q. What difficulties did you face when using Marvelous Designer for VRChat clothing production, and how did you solve them?A. Regarding VRChat specifically, we are often forced to create costumes in a T-pose by convention. In that case, it is difficult to secure the height of the sleeve cap, making it hard to produce items like jackets and shirts where the shoulder silhouette is crucial. At YOYOGI MORI, we solve the aesthetic issues to some extent by using an A-pose as our standard.Also, comparing actual humans to avatar body types, avatars often have extremely distinct proportions. Creating patterns based on realistic senses often resulted in an awkward look. In such cases, I try to approach the intended shape by taking finer darts or using freezing and strengthening on specific parts only.<hr><h2>Future Outlook</h2>Q. Are there any themes or directions you would like to challenge in future productions using Marvelous Designer?A. I would like to tackle products that cannot be expressed in real-world apparel. Currently, we mostly make things that can actually be produced, so I want to pursue what is possible because it is virtual. I think it would be amazing to layer the reality that only Marvelous Designer can produce on top of that, creating items that cannot exist in reality yet possess a strong sense of presence.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/06d07e07e8ac4a16b0a68d8b66fa82a79d0a579a-3597-4e56-ada0-70f21df2e1f9_base_resized.jpg" alt="06d07e07e8ac4a16b0a68d8b66fa82a7" class="custom-image original-size" data-id="06d07e07e8ac4a16b0a68d8b66fa82a7" data-width="1024" data-height="1024"><h2>Message to VRChat Avatar/Clothing Creators</h2>Q. Please give some advice or a message to VRChat creators who want to try using Marvelous Designer.A. Some might shy away because they have no experience with actual clothing construction. However, a T-shirt can be made with just three pattern pieces: front body, back body, and sleeve. Marvelous Designer's functions can be completed with just drafting and sewing, so I would like you to try it once and experience the realistic wrinkles. I think it's fun just to make one item and try changing the simulation fabric settings.<hr><h2>Credits</h2>Avatar &amp; Costume Images/Video: From YOYOGI MORI BOOTH Page "<a target="_blank" rel="noopener noreferrer nofollow" href="https://yoyogi-mori.booth.pm/items/6195966">[VRC / VRM Compatible 3D Model] Haysblanks ver1.03</a>"Marvelous Designer Avatar Costume Production Images: Tenju Co., Ltd.

[EN] YOYOGI MORI: Designing Avatars and Fashion for Virtual Reality

Traditional Costumes 3D Restoration

<img src="https://storagefiles.clo-set.com/public/community/202607/0c224dc5ea144c0a893ff4a81ce6a37e/images/5b6b3fecfcd9413ead92431f5d31e2eaCopy%20of%20KR_1080%20x%201080_Student%20Pricing.png" alt="5b6b3fecfcd9413ead92431f5d31e2ea" class="custom-image original-size" data-id="5b6b3fecfcd9413ead92431f5d31e2ea" data-width="2250" data-height="2250">3D 아티스트 취업을 지망하는 학생들에게 마블러스 디자이너와 같은 업계 표준 소프트웨어를 마스터하는 것은 매우 강력한 무기가 됩니다. 학생 여러분이 저희 커뮤니티의 가장 핵심인 만큼, 이용 기간을 2배로 늘리고, 유연한 월 단위 결제 구조로 전환하여 학생 플랜을 대폭 개편하였습니다.이번 개편을 기념하여, 한정 기간 동안 학생 가입자분들께 마블러스 디자이너 3개월 무료 이용 혜택을 제공합니다.알아두셔야 할 핵심 내용:두 배로 늘어난 학생 플랜 혜택 기간 기존 학생 플랜은 2년이라는 제한이 있어 학생분들의 실제 학업 기간과 니즈를 온전히 충족하기에 아쉬웠습니다. 이제 가입한 날로부터 최대 4년 동안 새로운 학생 플랜의 혜택을 넉넉하게 누리실 수 있습니다.더욱 유연해진 결제 방식 연간 구독의 결제 비용이 가끔은 부담스럽게 느껴질 수 있습니다. 이를 보완하기 위해 새로운 월간 구독 방식을 도입했습니다. 이제 한 달에 단 $8.25로 마블러스 디자이너가 제공하는 모든 기능을 마음껏 즐기세요.첫 3개월 무료 혜택 학생 플랜에 가입하시면 첫 3개월은 무료로 제공됩니다. 이는 한 학기에 가까운 기간 동안 마블러스 디자이너를 무료로 쓸 수 있는 엄청난 기회입니다. 기능 제한이나 유료 결제 유도 없이 소프트웨어의 모든 기능을 완벽하게 사용하실 수 있습니다. (3개월 무료 프로모션은 10월 31일까지 유효합니다.)마지막으로, 더 쉽고 빠르게 시작하실 수 있도록 학생 인증 및 가입 절차를 매우 간소화했습니다. 이제 여러분의 창의적인 아이디어를 펼치고, 기술력을 다듬어, 포트폴리오의 퀄리티를 한 단계 끌어올릴 때입니다.지금 첫 3개월 무료 혜택을 신청하고 창작의 첫걸음을 내딛어 보세요! <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.marvelousdesigner.com/pricing?type=academic">https://www.marvelousdesigner.com/pricing?type=academic</a>

더욱 유연해진 학생 플랜 + 3개월 무료 혜택

<img src="https://storagefiles.clo-set.com/public/community/202607/3100ad3d2c1d4b7e970c8a4cc101d79a/images/09f08d6126d34e43a20274edf7a8ab3bScreenshot%202026-07-08%20at%2013.40.36.png" class="custom-image hidden-thumbnail" data-id="09f08d6126d34e43a20274edf7a8ab3b" data-width="944" data-height="842">Vivienne Westwood is one of the most iconic British fashion brands, renowned for its heritage, innovative design, and commitment to culture and activism. We care deeply about our people and the environment, and our core values - Gaia, Quality not Quantity, Activism, Culture &amp; Heritage - guide us daily. If you share our passion for creativity, sustainability, and innovation, we’d love to hear from you.ABOUT THE ROLEVivienne Westwood is currently looking for a Digital Pattern Cutter to support the Design team in our Studio located in Milan Office.KEY REPSONSIBILITIES<ul><li>Development of sampling and production pattern as well as Showpieces.</li><li>Liaising with designers during fittings and providing input for experimental garment ideas.</li><li>Developing new pattern:<ul><li>Digital pattern cutting using Lectra (Modaris and Diamino) and Clo3D</li><li>Creating new patterns, working on already existing patterns, alterations, etc. Digitising paper pattern</li><li>Suggesting finishing solutions</li><li>Finalising production pattern, including technical information and measurement sheets for production company</li><li>Preparing toiles (cutting and sewing toiles, doing alterations if necessary)</li><li>Suggesting finishing solutions</li><li>Pattern Grading, when necessary</li></ul></li><li>Communication with vendors (exchanging pattern, problem solving, etc.)</li><li>Communication with Lectra in regards to hard- and software maintenance</li><li>Maintaining the pattern archive (paper and digital)</li><li>Working collaboratively with other pattern cutters, machinists, and designers, including those based in the London office (communicating in both Italian and English)</li><li>Demonstrate strong problem-solving skills in collaboration with the machinists to establish the best methods of construction for experimental garments</li><li>Maintaining a high level of quality control for the pattern and garments within the Studio and at a production level (vendors).</li><li>Work effectively under pressure and adapt to extended hours during peak periods, such as pre-show deadlines.</li><li>Attend fittings when needed, providing technical insight and support during adjustments.</li><li>Any other ad hoc task.</li></ul>PROFILE &amp; KEY SKILLS<ul><li>Strong experience in pattern cutting within a fashion or luxury Studio</li><li>Confident using Lectra Modaris and Clo3D for digital pattern development</li><li>Solid understanding of garment construction, fit, and finishing techniques</li><li>Ability to develop, amend and finalise patterns for sampling and production</li><li>Experience preparing toiles, handling alterations, and supporting fittings</li><li>Working proficiency both in English and Italian</li><li>Highly organised with strong attention to detail across digital and paper pattern management</li><li>Collaborative approach with the ability to problem-solve alongside designers, machinists, and production partners</li><li>Able to work under pressure and manage peak workload periods effectively</li></ul><a target="_blank" rel="noopener noreferrer nofollow" href="https://viviennewestwood.factorial.it/job_posting/digital-pattern-cutter-290908">https://viviennewestwood.factorial.it/job_posting/digital-pattern-cutter-290908</a>

[Job] Vivienne Westwood - Digital Pattern Cutter(Milano, Italy)

<hr><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/72d7f24642824a598db3bfa1249f2574%E9%AD%94%E7%8E%8B%E9%98%BF%E7%B1%B3%E5%A8%85.jpg" alt="72d7f24642824a598db3bfa1249f2574" class="custom-image original-size" data-id="72d7f24642824a598db3bfa1249f2574" data-width="4000" data-height="1713">In character illustration, clothing is more than visual decoration. It affects a character's movement, material expression, visual depth, and the overall mood of the image.Illustrator <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5af06707db2e600283b2ffd3?xsec_token=ABX4egR0ayT1owObWsVpTJhkUCcT_rOD4InRUFSxzXPxM%3D&amp;xsec_source=pc_search">Luobu</a> specializes in anime-style character illustration. Her work often features a semi-realistic atmosphere, strong lighting, dynamic poses, and elaborate costume design. In her workflow, 3D tools are not a replacement for drawing. They help her understand structure, space, and fabric behavior more accurately.In this interview, we spoke with Luobu about how she brings Marvelous Designer into her 2D illustration workflow, including real-world garment experience, 3D base models, garment patternmaking, animation simulation, and final 2D refinement.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/8b5f2f2dbabe4e0db3d8963cf29f0c78%E7%BB%86%E5%8C%961.jpg" alt="8b5f2f2dbabe4e0db3d8963cf29f0c78" class="custom-image original-size" data-id="8b5f2f2dbabe4e0db3d8963cf29f0c78" data-width="4000" data-height="1715"><hr><h1>To start, could you introduce yourself and the creative direction you usually focus on?</h1>Luobu: Hi everyone, I'm Luobu, an illustrator.I enjoy creating anime-style character illustrations. I am especially drawn to images with a semi-realistic atmosphere and strong lighting, as well as dynamic character poses and elaborate costume designs.In character design and illustration, I usually use 3D software to support my 2D painting process. It helps me handle space, garment structure, and lighting relationships with more stability.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/f0fd4b0cc99a4551bab0dfccd34f4567zl1.jpg" alt="f0fd4b0cc99a4551bab0dfccd34f4567" class="custom-image original-size" data-id="f0fd4b0cc99a4551bab0dfccd34f4567" data-width="3648" data-height="6000"><h1>You also have experience with cosplay. How has making or wearing clothing in real life helped you understand clothing in digital painting?</h1>Luobu: Making clothing in real life gives me a more intuitive understanding of garment styles, structure, and patternmaking.It also helps me understand the properties of different fabrics, such as weight, sheen, and elasticity. That experience supports me in two ways. On one hand, when I build clothing models in 3D software, I can judge the structure more quickly. On the other hand, when I paint in 2D, I have a clearer sense of why folds form, how they flow, and how different material textures should be rendered.<h1><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/27c07cf90a8e41ea9b1d1e18dcab6f43teres.jpg" alt="27c07cf90a8e41ea9b1d1e18dcab6f43" class="custom-image original-size" data-id="27c07cf90a8e41ea9b1d1e18dcab6f43" data-width="3000" data-height="6000"></h1><h1>Many 2D illustrators feel that 3D comes with a learning curve. What first made you decide to bring 3D tools into your illustration workflow?</h1>Luobu: When I was first learning to draw, I was not very confident with illustrations involving perspective or complex scenes.At the time, I learned that some illustrators were using 3D software to build more complex scene compositions before painting. That became the starting point for me. I began learning 3D software and gradually brought it into my own workflow.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/81dd02d7021d4fbfb5d2e24eab7d7fd4%E9%A2%86%E4%B8%BB.jpg" alt="81dd02d7021d4fbfb5d2e24eab7d7fd4" class="custom-image original-size" data-id="81dd02d7021d4fbfb5d2e24eab7d7fd4" data-width="1750" data-height="3500"><h2>What does your usual 2D + 3D workflow look like now?</h2>Luobu: My current workflow is roughly: sketch -&gt; 3D base human model -&gt; garment creation in Marvelous Designer -&gt; scene props and set pieces in 3D software -&gt; lighting and rendering -&gt; final 2D refinement.In this process, different software tools need to work together. Some tools can be connected through bridge plugins. When there is no bridge plugin available, I use common model formats such as OBJ or FBX files. I also keep the scale units consistent across programs, which makes it more stable to move between different tools.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/737e0714b00c401eb19e5cd22b0d61abmain11%20s.jpg" alt="737e0714b00c401eb19e5cd22b0d61ab" class="custom-image original-size" data-id="737e0714b00c401eb19e5cd22b0d61ab" data-width="5000" data-height="2143"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/961d325c9a8941cc9e92c6e4588771d3out%202.png" alt="961d325c9a8941cc9e92c6e4588771d3" class="custom-image original-size" data-id="961d325c9a8941cc9e92c6e4588771d3" data-width="3500" data-height="1500"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Pnx76q2e1tE" 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>You often share your process of building 3D garments by hand. What does Marvelous Designer help you with in garment creation?</h2>Luobu: I usually begin by sketching the full illustration and deciding the character's pose, clothing style, and the general motion of the garment.After that, I use Marvelous Designer to create the garment patterns and dress the clothing on the character model. With Marvelous Designer's animation simulation features, I can simulate the dynamic shape of the garment. This process can produce highly realistic garment folds and physical simulation effects.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/545b976ad46d4b6b85b79e499c597b77erk2.jpg" alt="545b976ad46d4b6b85b79e499c597b77" class="custom-image original-size" data-id="545b976ad46d4b6b85b79e499c597b77" data-width="1575" data-height="3500"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/vmzqrNUL7Jo" 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>In 2D painting, artists often rely on imagination to work through complex folds. After using Marvelous Designer, how has it influenced your 2D rendering?</h2>Luobu: Marvelous Designer's cloth simulation can create very realistic and delicate folds. It can also simulate physical collisions between fabric and objects such as the floor, tables, and chairs.For later 2D rendering, these results give me useful references for form and for separating light and shadow. I do not copy the simulation results directly. Instead, I organize and simplify them, then translate them into clothing details that suit the final image.In that sense, it helps me quickly establish the overall movement and shape of the garment, while also improving my efficiency during the final refinement stage.<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/5b16ce6a84e644288b93e846c96b9826xingyuan1.jpg" alt="5b16ce6a84e644288b93e846c96b9826" class="custom-image original-size" data-id="5b16ce6a84e644288b93e846c96b9826" data-width="3000" data-height="1687"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/42fbbd0d10ff4c789bc9c8504a7635aareed.png" alt="42fbbd0d10ff4c789bc9c8504a7635aa" class="custom-image original-size" data-id="42fbbd0d10ff4c789bc9c8504a7635aa" data-width="3500" data-height="1499"><h1>Would you recommend 3D tools to artists who are still working in a traditional 2D workflow?</h1>Luobu: If an artist needs to paint more realistic clothing, environments, or atmospheric lighting, I would recommend bringing 3D tools into the workflow.For beginners, I suggest first building a simple workflow, such as base model -&gt; clothing model -&gt; scene render -&gt; painting. You do not need to learn many software tools at once. Start with one tool, understand its basic functions, and build from there.Taking it one step at a time makes the learning process more gradual, and makes it easier to truly integrate the tools into your own creative workflow.<hr>From real-world garment experience to garment patternmaking and cloth simulation in Marvelous Designer, and finally to 2D refinement, Luobu's workflow offers a useful approach for illustrators: use 3D tools to establish structure and physical logic, then return to 2D painting for the final artistic interpretation.In this workflow, 3D is not a replacement for drawing. It is a more stable and intuitive reference system. It helps artists see folds, gravity, material, and spatial relationships more clearly, making clothing in character illustration feel more believable, layered, and alive.<hr><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/82ab1cc7e6ea4eedb0a714e1c0bf8025bmx.jpg" alt="82ab1cc7e6ea4eedb0a714e1c0bf8025" class="custom-image original-size" data-id="82ab1cc7e6ea4eedb0a714e1c0bf8025" data-width="2000" data-height="3000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/29943df72bab47cc97a219f351c73e87%E9%AD%94%E7%8E%8B%E9%98%BF%E7%B1%B3%E5%A8%85.jpg" alt="29943df72bab47cc97a219f351c73e87" class="custom-image original-size" data-id="29943df72bab47cc97a219f351c73e87" data-width="4000" data-height="1713"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/3105d52a2d914aeb9676a8286e73c6aesaki%20%E7%BB%88%20%E6%8B%B7%E8%B4%9D.png" alt="3105d52a2d914aeb9676a8286e73c6ae" class="custom-image original-size" data-id="3105d52a2d914aeb9676a8286e73c6ae" data-width="1857" data-height="3300"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/421ea98f37bb4b77a459b5a2e9946b33mr1.png" alt="421ea98f37bb4b77a459b5a2e9946b33" class="custom-image original-size" data-id="421ea98f37bb4b77a459b5a2e9946b33" data-width="1625" data-height="2600"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/d88d0d622a5643d3b9fa4bf7be0eefd8mami2.png" alt="d88d0d622a5643d3b9fa4bf7be0eefd8" class="custom-image original-size" data-id="d88d0d622a5643d3b9fa4bf7be0eefd8" data-width="1900" data-height="2850"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/df63c165446341858480d78c59d80a4cange.jpg" alt="df63c165446341858480d78c59d80a4c" class="custom-image original-size" data-id="df63c165446341858480d78c59d80a4c" data-width="1969" data-height="3500"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/94b95f104a9b4d6a9fb07261f9df5050yasu.jpg" alt="94b95f104a9b4d6a9fb07261f9df5050" class="custom-image original-size" data-id="94b95f104a9b4d6a9fb07261f9df5050" data-width="2000" data-height="4000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/736c4a6ad70d488c80c4f72c408d153d%E5%9B%BE%E5%83%8F1%20%E6%8B%B7%E8%B4%9D.jpg" alt="736c4a6ad70d488c80c4f72c408d153d" class="custom-image original-size" data-id="736c4a6ad70d488c80c4f72c408d153d" data-width="1800" data-height="4000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/16dee19d8ed44deeb0ae47b91582b58f%E6%88%90%E5%9B%BE1.jpg" alt="16dee19d8ed44deeb0ae47b91582b58f" class="custom-image original-size" data-id="16dee19d8ed44deeb0ae47b91582b58f" data-width="3000" data-height="6000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/b7612bfd45004ed88e0489322ea98bea%E7%9D%A6%E8%8E%AB.jpg" alt="b7612bfd45004ed88e0489322ea98bea" class="custom-image original-size" data-id="b7612bfd45004ed88e0489322ea98bea" data-width="1969" data-height="3500"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/6f86e2360150409fbaa404cfcb7445c41.jpg" alt="6f86e2360150409fbaa404cfcb7445c4" class="custom-image original-size" data-id="6f86e2360150409fbaa404cfcb7445c4" data-width="3500" data-height="1969"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/4b2e89dcdfb345e0b44f7b88760a66f31%202.jpg" alt="4b2e89dcdfb345e0b44f7b88760a66f3" class="custom-image original-size" data-id="4b2e89dcdfb345e0b44f7b88760a66f3" data-width="3000" data-height="1286">

Making Fabric Folds Make Sense: Illustrator Luobu on Her 2D + 3D Workflow

I’m trying to draft sleeve pattern.<img src="https://storagefiles.clo-set.com/public/community/202607/bf885f05d46443759b7115b4b3764952/images/0ac2b27ec8c246a1a2ac5c6488c45486Screenshot%202026-07-08%20at%2017.34.28.png" alt="0ac2b27ec8c246a1a2ac5c6488c45486" class="custom-image original-size" data-id="0ac2b27ec8c246a1a2ac5c6488c45486" data-width="1056" data-height="850">I’m trying to move the segment including A and B lines higher. (A + B is the triangle base)A = BBut while doing this I want both sides of the triangle (C and D) adapt themselves to the movement of the triangle base dynamically.So the A + B measurement increases. (I want to set It to the specific bicep line measurement.)Also C + D measurements increases.It will be still A = B.Is there a fetaure for It?

How To Do Dynamic Editing

<hr><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/72d7f24642824a598db3bfa1249f2574%E9%AD%94%E7%8E%8B%E9%98%BF%E7%B1%B3%E5%A8%85.jpg" alt="72d7f24642824a598db3bfa1249f2574" class="custom-image original-size" data-id="72d7f24642824a598db3bfa1249f2574" data-width="4000" data-height="1713">在角色插画中，服装不只是外观装饰。它会影响角色动态、材质表现、画面层次，也会直接参与氛围塑造。插画师<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.xiaohongshu.com/user/profile/5af06707db2e600283b2ffd3?xsec_token=ABX4egR0ayT1owObWsVpTJhkUCcT_rOD4InRUFSxzXPxM%3D&amp;xsec_source=pc_search">撸卜</a>擅长绘制二次元角色插画，作品中常能看到偏写实的氛围、强烈的光影，以及华丽的角色动态和服装造型。在她的创作流程里，3D 工具并不是替代绘画，而是帮助她更准确地理解结构、空间和布料状态。这一次，我们和撸卜聊了聊她如何将 Marvelous Designer 融入 2D 插画工作流：从现实服装经验，到 3D 人模、服装打版、动画解算，再到最终的 2D 精修。<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/8b5f2f2dbabe4e0db3d8963cf29f0c78%E7%BB%86%E5%8C%961.jpg" alt="8b5f2f2dbabe4e0db3d8963cf29f0c78" class="custom-image original-size" data-id="8b5f2f2dbabe4e0db3d8963cf29f0c78" data-width="4000" data-height="1715"><hr><h2>先和大家介绍一下自己吧。您平时更关注怎样的创作方向？</h2>撸卜：大家好，我是插画师撸卜。我喜欢绘制二次元角色插画，比较擅长偏写实氛围、强光影效果的画面，也很喜欢华丽的角色动态和服装造型。在角色设计和插画创作中，我通常会使用 3D 软件来辅助 2D 绘画，帮助自己更稳定地处理空间、服装结构和光影关系。<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/f0fd4b0cc99a4551bab0dfccd34f4567zl1.jpg" alt="f0fd4b0cc99a4551bab0dfccd34f4567" class="custom-image original-size" data-id="f0fd4b0cc99a4551bab0dfccd34f4567" data-width="3648" data-height="6000"><h1>您也有 Cosplay 相关经验。现实中制作或穿着服装，对您理解数字绘画里的服装有什么帮助？</h1>撸卜：现实中制作服装，会让我更直观地理解服装的款式、结构和制版方式。同时，它也会帮助我理解不同面料的特性，比如软硬、光泽和弹性。这一部分经验对我有两方面帮助：一方面，在 3D 软件中制作服装模型时，我能更快判断结构；另一方面，在 2D 绘画中，我对褶皱产生的原因、褶皱的走向，以及不同面料的材质纹理，也会更有方向。<h1><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/27c07cf90a8e41ea9b1d1e18dcab6f43teres.jpg" alt="27c07cf90a8e41ea9b1d1e18dcab6f43" class="custom-image original-size" data-id="27c07cf90a8e41ea9b1d1e18dcab6f43" data-width="3000" data-height="6000"></h1><h1>很多 2D 插画师会觉得 3D 有门槛。您最初为什么决定把 3D 工具引入自己的插画流程？</h1>撸卜：在早期学习绘画的时候，我其实不太擅长涉及透视和复杂场景的插画。当时我了解到，有一些插画师会在绘制时利用 3D 软件完成比较复杂的场景构图。以这个为契机，我开始学习 3D 软件，并慢慢把它放进自己的工作流里。<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/81dd02d7021d4fbfb5d2e24eab7d7fd4%E9%A2%86%E4%B8%BB.jpg" alt="81dd02d7021d4fbfb5d2e24eab7d7fd4" class="custom-image original-size" data-id="81dd02d7021d4fbfb5d2e24eab7d7fd4" data-width="1750" data-height="3500"><h2>现在您的标准“2D + 3D”创作工作流大概是怎样的？</h2>撸卜：目前我的流程大致是：草图 → 3D 人模 → Marvelous Designer 制作服装 → 3D 软件制作场景摆件 → 打光渲染 → 2D 精修绘制。在这个过程中，不同软件之间需要协同工作。有些软件之间可以使用桥接插件，如果没有桥接插件，我会使用通用模型格式，比如 OBJ 或 FBX 文件。同时，我也会保持每个软件里的比例单位一致，这样在不同软件之间切换时会更稳定。<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/737e0714b00c401eb19e5cd22b0d61abmain11%20s.jpg" alt="737e0714b00c401eb19e5cd22b0d61ab" class="custom-image original-size" data-id="737e0714b00c401eb19e5cd22b0d61ab" data-width="5000" data-height="2143"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/961d325c9a8941cc9e92c6e4588771d3out%202.png" alt="961d325c9a8941cc9e92c6e4588771d3" class="custom-image original-size" data-id="961d325c9a8941cc9e92c6e4588771d3" data-width="3500" data-height="1500"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Pnx76q2e1tE" 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>您经常会分享“手搓 3D 版衣服”的过程。Marvelous Designer 在服装制作里具体帮到了你什么？</h2>撸卜：通常我会先绘制整张插画的草图，确定角色动作、服装款式，以及服装大致的动态造型。之后，我会使用 Marvelous Designer 完成服装打版，并为角色模型穿上服装。通过 Marvelous Designer 的动画解算功能，我可以模拟出服装的动态造型。这个过程能做出非常逼真、写实的服装褶皱和物理模拟效果。<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/545b976ad46d4b6b85b79e499c597b77erk2.jpg" alt="545b976ad46d4b6b85b79e499c597b77" class="custom-image original-size" data-id="545b976ad46d4b6b85b79e499c597b77" data-width="1575" data-height="3500"><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/vmzqrNUL7Jo" 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>在 2D 绘画中，画师常常需要靠想象力处理复杂褶皱。使用 Marvelous Designer 后，它对您的 2D 刻画有什么启发？</h2>撸卜：Marvelous Designer 的布料解算可以制作出非常真实、细腻的褶皱，也能模拟面料和地面、桌椅等物体之间的物理碰撞效果。这些内容在后续 2D 刻画中，会给我带来造型和光影二分上的参考。我并不会直接照搬模拟结果，而是会进行适当整理和归纳，再把它转化成适合画面的服装刻画。所以它一方面可以帮助我快速确立服装整体的动态与造型，另一方面也能提升精修细化时的效率。<img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/5b16ce6a84e644288b93e846c96b9826xingyuan1.jpg" alt="5b16ce6a84e644288b93e846c96b9826" class="custom-image original-size" data-id="5b16ce6a84e644288b93e846c96b9826" data-width="3000" data-height="1687"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/42fbbd0d10ff4c789bc9c8504a7635aareed.png" alt="42fbbd0d10ff4c789bc9c8504a7635aa" class="custom-image original-size" data-id="42fbbd0d10ff4c789bc9c8504a7635aa" data-width="3500" data-height="1499"><h1>对于还在使用传统 2D 工作流的艺术家，您会推荐他们融入 3D 工具吗？</h1>撸卜：如果需要绘制比较写实的服装、场景和氛围光影，我会推荐融入 3D 工具。入门的话，可以先确立一套简单的工作流，比如人模 → 服装模型 → 场景渲染 → 绘制。在这个过程中，不需要一开始就学习很多软件，可以先从一个软件开始，了解和学习它的基础功能。一个一个去攻克，会更循序渐进，也更容易真正把工具融入自己的创作流程。<hr>从现实服装经验，到 Marvelous Designer 中的服装打版和布料解算，再到最终的 2D 精修，撸卜的创作流程展示了一种很适合插画师参考的方法：用 3D 工具建立结构和物理逻辑，再回到 2D 绘画中完成审美表达。在这个流程里，3D 并不是绘画的替代品，而是一种更稳定、更直观的参考系统。它帮助艺术家把褶皱、重力、材质和空间关系看得更清楚，也让角色插画中的服装表现更加可信、丰富和有生命力。<hr><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/82ab1cc7e6ea4eedb0a714e1c0bf8025bmx.jpg" alt="82ab1cc7e6ea4eedb0a714e1c0bf8025" class="custom-image original-size" data-id="82ab1cc7e6ea4eedb0a714e1c0bf8025" data-width="2000" data-height="3000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/29943df72bab47cc97a219f351c73e87%E9%AD%94%E7%8E%8B%E9%98%BF%E7%B1%B3%E5%A8%85.jpg" alt="29943df72bab47cc97a219f351c73e87" class="custom-image original-size" data-id="29943df72bab47cc97a219f351c73e87" data-width="4000" data-height="1713"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/3105d52a2d914aeb9676a8286e73c6aesaki%20%E7%BB%88%20%E6%8B%B7%E8%B4%9D.png" alt="3105d52a2d914aeb9676a8286e73c6ae" class="custom-image original-size" data-id="3105d52a2d914aeb9676a8286e73c6ae" data-width="1857" data-height="3300"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/421ea98f37bb4b77a459b5a2e9946b33mr1.png" alt="421ea98f37bb4b77a459b5a2e9946b33" class="custom-image original-size" data-id="421ea98f37bb4b77a459b5a2e9946b33" data-width="1625" data-height="2600"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/d88d0d622a5643d3b9fa4bf7be0eefd8mami2.png" alt="d88d0d622a5643d3b9fa4bf7be0eefd8" class="custom-image original-size" data-id="d88d0d622a5643d3b9fa4bf7be0eefd8" data-width="1900" data-height="2850"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/df63c165446341858480d78c59d80a4cange.jpg" alt="df63c165446341858480d78c59d80a4c" class="custom-image original-size" data-id="df63c165446341858480d78c59d80a4c" data-width="1969" data-height="3500"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/94b95f104a9b4d6a9fb07261f9df5050yasu.jpg" alt="94b95f104a9b4d6a9fb07261f9df5050" class="custom-image original-size" data-id="94b95f104a9b4d6a9fb07261f9df5050" data-width="2000" data-height="4000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/736c4a6ad70d488c80c4f72c408d153d%E5%9B%BE%E5%83%8F1%20%E6%8B%B7%E8%B4%9D.jpg" alt="736c4a6ad70d488c80c4f72c408d153d" class="custom-image original-size" data-id="736c4a6ad70d488c80c4f72c408d153d" data-width="1800" data-height="4000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/16dee19d8ed44deeb0ae47b91582b58f%E6%88%90%E5%9B%BE1.jpg" alt="16dee19d8ed44deeb0ae47b91582b58f" class="custom-image original-size" data-id="16dee19d8ed44deeb0ae47b91582b58f" data-width="3000" data-height="6000"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/b7612bfd45004ed88e0489322ea98bea%E7%9D%A6%E8%8E%AB.jpg" alt="b7612bfd45004ed88e0489322ea98bea" class="custom-image original-size" data-id="b7612bfd45004ed88e0489322ea98bea" data-width="1969" data-height="3500"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/6f86e2360150409fbaa404cfcb7445c41.jpg" alt="6f86e2360150409fbaa404cfcb7445c4" class="custom-image original-size" data-id="6f86e2360150409fbaa404cfcb7445c4" data-width="3500" data-height="1969"><img src="https://storagefiles.clo-set.com/public/community/202606/22797f109e574d798e695ba4b62dff98/images/4b2e89dcdfb345e0b44f7b88760a66f31%202.jpg" alt="4b2e89dcdfb345e0b44f7b88760a66f3" class="custom-image original-size" data-id="4b2e89dcdfb345e0b44f7b88760a66f3" data-width="3000" data-height="1286">

让布料褶皱有迹可循：插画师撸卜的 2D+3D 创作访谈

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<img src="https://storagefiles.clo-set.com/public/community/202607/0c224dc5ea144c0a893ff4a81ce6a37e/images/f134549d1be04bbfb45ab38f976ccf93Student%20Pricing%20Newsroom%20AND%20Social%20Media%20JP.png" alt="f134549d1be04bbfb45ab38f976ccf93" class="custom-image original-size" data-id="f134549d1be04bbfb45ab38f976ccf93" data-width="2250" data-height="2250">3Dアートのポートフォリオ制作に取り組む学生の皆様にとって、業界標準ソフトウェアの一つであるMarvelous Designerの習得は、アーティストとしての第一歩を踏み出すにあたって大きな強みとなると考えております。同時に、学生の皆さまは私たちにとってはMarvelous Designerにおけるクリエイティブコミュニティの中核を担う存在です。 学生の皆様の制作活動をより支援するために、このたび、学生プランの利用資格期間を2倍に延長し、柔軟な月額制へと移行するアップデートを実施させていただきます。この変更を記念し、期間限定で学生プランへご登録いただいた学生の皆さまに、Marvelous Designer を3ヶ月間無料でご提供いたします。新しい学生プランの詳細は以下の通りです。学生プランの利用期間を2倍にこれまでの学生プランの利用期間は2年間に限定されており、ユーザーの皆さまのニーズを十分に満たせていませんでした。 新しい学生プランでは、登録日から4年間ご利用いただけます。より柔軟な支払い方法年間サブスクリプションの一括払いは、時に負担に感じられることがあります。 新しい学生プランでは、月額サブスクリプションを導入します。月額 8.25ドルで、Marvelous Designer のすべての機能をお使いいただけます。最初の3ヶ月間を無料に期間限定で、学生プランの最初の3ヶ月間を無料で提供します。 ほぼ1学期分の Marvelous Designer を無料でご利用いただける計算です。 もちろん、利用中の機能制限やペイウォールは一切なく、ソフトウェアの全機能にアクセスできます。 ※3ヶ月無料オファーは10月31日まで有効です。学生プランの変更に加えて、学生資格の登録と認証のプロセスもよりシンプルになり、これまで以上にスムーズにMarvelous Designerを始められるようになりました。 クリエイティブなビジョンを形にし、技術を磨き、ポートフォリオにふさわしい高品質な作品をともに制作しましょう。今すぐ最初の3ヶ月無料ライセンスを受け取り、あなたの制作活動を始めましょう。<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.marvelousdesigner.com/pricing?type=academic">https://www.marvelousdesigner.com/pricing?type=academic</a>

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