Beyond Garments: Daidi’s Experimental Work with Marvelous Designer

For daidi319 , Marvelous Designer is more than a garment-making tool. Through historical research, cloth simulation, and continuous experimentation, he uses its physical qualities to develop costumes, moving structures, and unexpected visual forms. Welcome to the Marvelous Designer Artist Interview! Could you start by briefly introducing yourself and telling us what you're currently focusing on in your creative practice? I'm daidi319, a digital artist who works anonymously. My practice centers on moving-image works and interactive physical installations. Which parts of your work involve Marvelous Designer? For example, character costumes, dynamic cloth, occluding structures, or conceptual visual installations. I first started using Marvelous Designer while making 清 QING CCTV . The shor

概念设计师睫毛：一人构筑复古科幻《失乐园》，他把历史语法画成未来语言

概念设计师睫毛 (Eyelashes) 来自中国，目前以自由概念设计外包与个人 IP 创作为主。他的作品常以 3D 流程推进，在完整的世界观搭建中寻找更鲜明的个人表达。 在《Paradise Lost 失乐园》中，他将复古未来、旧贵族、庄园之下的禁忌之城、欲望与腐朽编织成一套完整的视觉叙事。华丽不再只是装饰，冷峻也不只是科幻质感；两者共同指向一个停滞在过去与未来夹缝中的世界。 这一次，我们和睫毛聊了聊《失乐园》的灵感来源、视觉语言、角色服装设计，以及 Marvelous Designer 如何参与他的概念设计流程。 可以先简单介绍一下您自己，以及目前主要关注的创作方向吗？ 睫毛：大家好，我是一名来自中国的自由概念设计师，大家可以叫我睫毛或 Eyelashes。 平时我主要从事概念设计外包，也会在空闲时间创作一些个人 IP。目前我的个人作品以 3D 流程为主，因为它能比较好地展现我的设计和想法。 现阶段，我会更关注以科幻为主的世界观创作。也希望未来能逐渐形成更加鲜明、完整的个人风格。 《Paradise Lost 失乐园》的世界观非常完整。这个概念最初是从哪里开始的？ 睫毛：这个概念的想法很有趣。最早的灵感来自《大开眼戒》《圣山》和《2001：太空漫游》这几部电影，它们让我对复古科幻产生了兴趣。 《大开眼戒》中面具背后的隐秘欲望，《圣山》里癫狂而神圣的仪式感，以及《2001：太空漫游》中静默、惊悚的科幻气质，都和我想表达的主题很契合。 于是我把这些调性和自己的想法结合在一起：在一个复古未来的架空世界里，旧贵族沉湎于最后的荣光。罪恶与欲望浇筑于庄园之下，构筑出一座只供自身享乐的禁忌之城，代号“失乐园”。这个世界停滞在过去与未来的夹缝中，旧贵族早已腐朽，却依然沉迷于永不满足的贪婪与享乐。 作品中既有旧贵族的华丽感，也有未来主义的冷峻气质。您是如何建立这套视觉语言的？

Recreating the Richness of Traditional Indian Costume with Marvelous Designer

Meet Vaibhav Negi , a CGI industry veteran with 10+ years of experience and a member of Marvelous Designer. In this spotlight, Vaibhav shares how he brought a photoreal character inspired by India’s traditional ritual, Bhoota Kola, to life. Discover how he utilized Marvelous Designer for over 80% of the asset—from complex layered garments to a brilliant workaround for creating intricate flower garlands and straw skirts using lightweight, production-ready workflows. Software Used Blender – lighting, texturing, Rendering Marvelous Designer – Cloth Simulation & Animation Artist Introduction Hey, I’m Vaibhav. I feel like an imposter here because I’m part of Marvelous Designer’s internal design team. That said, long before I joined the company, I was already a strong believer in the so

让布料褶皱有迹可循：插画师撸卜的 2D+3D 创作访谈

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 撸卜 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。 先和大家介绍一下自己吧。您平时更关注怎样的创作方向？ 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。 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？ 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。 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？ 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。 现在您的标准“2D + 3D”创作工作流大概是怎样的？ 撸卜：目前我的流程大致是：草图 → 3D

通过板片建模与布料模拟实现丰富的舞蹈表现： Marvelous Designer 在《绝妙舞步》中的应用实践

于 2025 年 10 月开播的动画《绝妙舞步》，是一部挑战“街舞”这一独特题材的作品。其幕后制作工作室 CYCLONE GRAPHICS表示，为了在舞者激烈的动作与街头服饰特有的“宽松感”及多样化款式之间取得平衡，采用 Marvelous Designer 是其团队的“必然选择”。 通过高速且精准的物理模拟，他们实现了传统方法无法企及的“海量设计数量”与“精准的布料动态”，并在缩减制作工时方面取得了突破性进展。本文将深入探讨其背后的技术挑战：包括如何利用 Blender 进行独特调整，将 Marvelous Designer 生成的写实褶皱数据转化为动画风格；以及他们基于“运动状态才是服装的完成形态”这一理念，追求完美动态轮廓的制作方法。 此外，我们还探讨了他们与数字时尚专家 Tenju 公司的合作，以及 Marvelous Designer 将如何拓展未来动画制作的整体可能性。 1.  关于街舞与 Marvelous Designer [Q]: 《绝妙舞步》是一部专门聚焦于街舞题材的独特动画。在这个项目中采用 Marvelous Designer 的初衷是什么？ [A]: Marvelous Designer 高速且精准的物理模拟能够呈现动作中的重力感以及写实的褶皱细节，而这些正是传统 3DCG 制作一直难以克服的挑战。在实际应用中，与其他 3DCG 软件的物理模拟相比，Marvelous Designer 显著减少了后期处理和修正的工作量。 制作《绝妙舞步》的最大挑战在于，我们需要在处理海量舞蹈动画的同时，准备多种多样、且极具街头时尚真实感的服装款式。在传统的 3DCG 制作中，我们必须为每一套服装单独建模，并重复进行刷权重和绑定等繁琐流程。然而在这个项目中，我们通过 Marvelous Designer 的3D缝纫功能完成了所

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

How artist Soohwan fine-tuned friction and skin offset values to perfectly capture the intense choreography and weightless flutter of virtual stage outfits. Discover the work and expert Marvelous Designer tips of Soohwan Oh in this exclusive series! [ Go to Previous Post] Capturing the way garments flutter or cling to the body in response to dynamic choreography is crucial. How did you configure the fabric’s Physical Properties in Marvelous Designer (MD) for such an intense dance simulation? When simulating intense movements in Marvelous Designer, I believe configuring the character body’s Friction values is just as important as the fabric’s physical properties. Especially when applying animation to a dressed character, these two elements heavily dictate how natural the final result look

The Convergence of Originality and Technology: Original Characters and Nano-banana

3D artist Soohwan pushes the boundaries of virtual garments by layering sophisticated AI textures from 'Nano-banana' onto Marvelous Designer’s realistic geometry. Discover his smart, practical pipeline that flips the traditional UV workflow to maximize both efficiency and high-fidelity quality. Discover the work and expert Marvelous Designer tips of Soohwan Oh in this exclusive series! [ Go to Previous Post] How much creative flexibility does Marvelous Designer (MD) provide when working on original characters without restrictions? We’d love to know how MD influences the conceptualization and fleshing out of ideas during the initial design phase. Of course, before diving into production, we always establish the direction during the planning phase—deciding what kind of garments to create a

Dunes of Steel | 3D Cinematic Animation

3D artist Konstantin Batishchev takes us to a desolate desert planet where massive industrial structures rise from the dunes, driven by mysterious underground mechanisms. Discover how he pushed his technical workflow to the limit to transform a raw concept into a polished, high-fidelity cinematic masterpiece. Software Used Cinema 4D – Modeling, animation Cascadeur - Character animation Marvelous Designer – Cloth Simulation  Substance Painter – Texturing Octane Render – Lighting & Rendering Embergen - smoke simulation After Effects - Post-Production Artist Introduction Hi, I’m a Motion Designer with over 10 years of experience working in 2D and 3D animation. I focus mostly on creating visuals for branding, product videos, and storytelling. In my work, I usually handle th

Shimmer - Escena Animation Studio

From Student Dreams to Ariel Awards: How Escena Animation Studio Crafted the Soul of ‘SHIMMER’ Studio Introduction Hello! I'm Alan Narvaez, the CFX Supervisor at Escena Animation Studio, the in-house studio of Escena, a school for animation and digital art based in Mexico City. EAS focuses on non-commercial projects that provide our students with their first opportunity to work in a collaborative environment and pipeline. Although we are a small studio, each of our members is full of artistic talent, and we consider ourselves more of a family than a workplace. We are currently working on six different projects, which we are eager to share more soon and we’re very happy to be here sharing our experience with you.  Congratulations on winning the Best Animated Short award at

Cinematic Homage: A Reinterpretation of Akira

Bridging anime imagination and grounded realism: How Soohwan Oh masters intricate leather textures and silhouettes with Marvelous Designer. Discover the work and expert Marvelous Designer tips of Soohwan Oh in this exclusive series! [ Go to Previous Post] You’ve recreated the legendary motorcycle sequence from the anime Akira. When translating such an intense visual into 3D, what specific aspects of the clothing’s silhouette and texture did you focus on most? While the project was inspired by the original Akira, my primary goal was to maximize the sense of realism, as I was reinterpreting it through a photorealistic lens. At the same time, I felt it was crucial to preserve the visceral impact of the source material. To maintain that iconic presence, I opted for a monochromatic color schem

Dream Sequence 3D Challenge - Seoul

Step into a futuristic Seoul DJ festival where Soohwan Oh blends K-tradition and street vibes through Marvelous Designer’s intricate digital fashion! Blender – Scene building, Motion, Lighting & Rendering Marvelous Designer – Cloth Simulation & Animation Daz – Character Modeling After effects - Compositing Artist and Project Introduction Hello, I’m 3D artist Soohwan Oh. Currently, I work as a freelancer, leading various visual projects primarily within the entertainment and beauty industries. I often handle the entire process—from initial planning to final production—solo, though I also participate as a supervisor or team member for larger-scale projects. As a 3D generalist, I take a hands-on approach to most stages of the creative workflow. This project was my submission for P

土木出身逆袭B社！西蒙ltw，重新定义二次元角色的写实可能

如何将二次元动漫角色，还原为充满电影感的写实形象？前B社3D艺术家 西蒙ltw 以3A创作功底，打通写实技术与动漫美学，让角色服装拥有质感与故事，把经典二次元形象重新创造为真实可感的 3D 艺术。 请先向大家简单介绍一下自己吧。您是如何踏入 3D 艺术领域的？在B社的工作经历对您的创作思维产生了哪些影响？ Hello大家好，我是西蒙ltw。之前曾在贝塞斯达游戏工作室担任3D游戏美术，参与过《上古卷轴》和《辐射》系列的制作。现在则作为自媒体创作者活跃于各个平台，专注于二次元角色写实化的创作，以及分享一些自己从零开始学习美术的经验。 我最开始认真接触3D，其实是以“用3D辅助2D创作”作为切入点的。 CrazyJN疯景 老师的课程，让我从一个2D画师逐渐爱上了3D这个创作媒介，也让我开始学会借助不同的软件去实现自己心里想表达的效果。后来，国内大家都很熟悉的 光叔 和 强哥 Johnny Xiao ，则成了我进一步深入学习3D道路上的领路人。可以说，正是站在他们的肩膀上，我才能看得更远，不仅审美得到了很大的提升，也进一步系统地学习了3D创作的基础——无论是软件层面的，还是美术层面的。 进入B社、并且真的在贝塞斯达工作，对我来说是一种无上的荣光。作为一个土木出身的理科生，能够进入B社，并参与《辐射》《上古卷轴》这样传奇项目的制作，首先带给我的，其实是足够强的自信。以前的努力在那一刻获得了非常强烈的正反馈，也让我真正开始相信，自己是有能力去创造一些有趣、并且能够打动人的作品的。 除此之外，更重要的其实是工作经验本身的积累。在项目里，我有机会接触到从中世纪奇幻到废土世界这样类型差异极大的世界观，也参与了其中不同服装与环境资产的制作。因为这些项目里的服装类型、布料材质都非常丰富，变化也很多，所以这段经历实实在在地帮我积累了大量经验，也提升了我的创作基本功。比如对剪影的把握、褶皱的