Learn DIGITAL FASHION with Clo 3D and Marvelous Designer

1. Introduction: Do you until design clothes from home D12 simulate and visualize what flat patterns are going to look like before cutting fabrics, do you want to design clothes that were fit your own body measurements perfectly? Do you want to create high-quality blended images and animations for fashion campaigns? After this course, she can work sustainably and waste less fabric past learning the basics of 3D modeling and cloth simulation. Hi guys, I'm going to show you He's a really intuitive and realistic per gram called Club Cliff 3D is different too of a 3D program like Glenda, Cinema 4D and Maya. And that's because we don't build with 3D blocks like spheres and cubes. We start with 2D flat shapes on one side of the screen, which is then draped Bachelier and very realistically over an avatar or model on the other side of the screen. I just think that this will be a very sought-after skill in the future with everything becoming so digital. And we want to send very high-quality designs and variations to clients across the world. Cloud provides us with the avatars that we can drape the clothing onto. So that's why I really stick to month-end close on a mannequin or a real life model. So we worked flat on one side of the screen and 3D is simulated on the other. We can still grab and pull and shape the 3D simulation. So if the dress hasn't fell quite right, and we want to see the pattern on the sky. You can still adjust how that Dress falls by clicking and dragging it. I've shifted this course into small bite-sized videos, which covers all basis of clo 3D, allowing you to learn all the functionalities. So then you can jump in and create your own designs. So wherever your game designer, fashion designer, Garment may have Hatton carta or you just want to learn a really cool new skills and ask me. So you have marvelous designer and close share the same core technology and the interface looks almost identical. So anything that you do then in cause you can definitely apply it to the other program. Marvelous designer is primarily used in CGI animation and gaming industry. Whereas Clough is a more robust solution geared towards the fashion industry. Cloud allows for production ready patterns to percent straight to the manufacturer. You can download a 30-day free trial of clo OR marvelous designer online. I've provided links to the free trials below. 2. Adding Avatars: Let's begin by getting gray in, going to the library tab on the left of the screen. When I click on the Library tab, there are different options for garment, avatar, fabric, hardware and trainings. And the new clone 6, we have the option for stage. You also have the ability to link up proposer in your computer so you can access things more quickly. So if you have a folder that is full of images and graphics, they may want to drag and drop onto your comments. You may want to link up this folder here. So it makes the workflow and little easier. You can do this by clicking the plus icon up here and choosing the desired folder. So make sure you've downloaded the Resources folder for my course page and we're going to try out a speech. So download the resource folder I've provided. Thank click the plus button up here in clo, locate the folder and select it. So appears at the bottom of this list. The program comes with a library of key thoughts for you to use. So we can add an avatar by clicking avatars and browsing them below here. But for this course we are going to go into the resource folder that I've provided. So double-click this resource folder, then go into avatars. And let's open the avatar named Nate. If you hover your mouse over something in the library, it chooses a larger preview. So double-click the avatar to load it up in arsine and made should appear in the 3D view on the left. Alternatively, we could have gone up to File Open and then Avatar and located any avatar that we have on our computer. Although it's great that we can model flows directly on avatars with texture mapping. He may want to muddle on something more mannequin like so we can actually hide the texture mapping loss we model and reactivate it later when we are ready to render. We can do this on any Avatar by jumping to this small head icon and clicking on the monochrome surface. So you can also activate this if you're looking for a more cyber Africa off and something less sims like. You can also change the color of any avatar Seth is to any crazy colors that may fit your branding or color scheme. So if we click on the avatar, you can select the different body parts. But if we hold down shift, we can select all of the body parts by clicking on them individually. Then if we go to the bottom right of the screen and under material, under basic parameters, we can change the color here to anything we like. We can also make the avatar shiny. So if you want a shiny avatar, just decrease the roughness under the reflection category. If you are new to 3D modeling. In many of the more advanced 3D modeling programs, decreasing this roughness property will add shiny surface or Colossi surface to the object. So this is good to know. So before we get distracted by adding crazy colors and shininess to our avatars are just though it be good to get an avatar into the scene. So I can explain some of the interface to you more clearly. So if you're watching this horse right now, I imagined you are ready to download the workshop resources and have a go at the class projects, or you're watching this video for tips. So if you are just watching it for some quick advice, feel free to increase the speed of the video. I found it to be quite useful if I'm just in a rush and I'm trying to improve my knowledge quickly. If you knew the 3D modeling software like there, then keep the speed is normal and download the resource files below before we get started. 3. The Interface: So the screen is split into two. On the right-hand side is a space for flat 2D pattern-making. And the left-hand side is the space for the 3D simulation, where the clothes will be draped onto the avatar. Above the 3D simulation, we have tools to manipulate the 3D image. Above the 2D window, we have 2D tools to manipulate the pattern. On the top right of the screen we have the Object Browser, which is split into different tabs. So this is our default view, this split screen with the 3D on the left and the 2D on the right. We can change this by looking at the bottom right of the screen and clicking on one of these three icons. The first icon is the default view. The second icon is if you only want to view the 3D window. And the third icon is only if you want to view the 2D pattern. 4. Navigation Controls: So let's talk about the navigation controls. You will experience clo, marvelous designer and other 3D modeling programs differently, depending on whether you are using a computer mouse or a laptop trackpad. Its advice to use a computer mouse if possible. But you can still use a laptop trackpad. Just give yourself a little bit more patients. If we right-click on the empty space in 3D simulation, on the left-hand side, you can see a list of different viewing angles. You can click any of these to jump to a specific viewpoint. You can press the corresponding numbers on your keyboard. Alternating between pressing 1234 on the keyboard is pretty useful to get a general look at the model. So we will be using these shortcuts throughout this tutorial. So if I hold down the option key on my keyboard and left-click and drag, I can move the 3D view around. Now, if you are using a computer mouse it behold down the right mouse button and move the cursor around. You can rotate the 3D view. And if I rotate the scroll wheel, I can zoom in and out of my module. If you were using a laptop trackpad, I can put two fingers on the trackpad and use them to zoom in and out of my model. To rotate the scene is kind of fun, maybe a little bit annoying. You need to press and hold two fingers down on the trackpads. Then move your fingers around whilst holding down to rotate the scene. So it's a bit weird, but it actually feels like you are moving this 3D model around physically. The same controls apply to the 2D pattern window on the right part from the rotation, as we don't need to rotate here. As we've already inputs the avatar have occurred. Moving your 3D view around, zooming in and out, and just getting a general feel for the controls and disclosing what computer I'm using here as the performance of Khloe and of a 3D software was dependent on some of your compete respects. This is just 2 thousand 17 MacBook Pro, which has 16 gigabytes of RAM, but only an Intel graphics card, which isn't great. So without getting too techie here, the minimum system requirements of clouds are listed on their website. I will upload another video about maximizing computer formats when you're working with club. But I want this video to be more fun and less about computer spec. So let's move on. 5. Adding Garments: Okay, now we've mentioned some of the basics. Let's add some garments so we can understand more. So that's some default clothing from the libraries. If we click on the Library tab on the top left of the screen and double-click garments you should see two t-shirts on is categorized as the male TCGA and other is categorized as a female t-shirt. If we hover the mouse over these garments, we should get a quick preview. If we double-click a t-shirt, it will appear in our 3D view on the left. And the pattern should appear in the 2D pattern window on the right. If you were a fashion designer or you have made your own governments before, the view on the right-hand side may look and feel familiar to you. If not, this program may actually teach you a thing or two about real life pattern cutting and garment making. Now all of these colored lines that we can see all around the t-shirt, virtual threads. So these are the threads that will pull each piece of fabric together, just like in real life, to form the tissue that would trait openness. And this button up here is the simulate button. And a shortcut for simulate is the spacebar on our keyboard. If we click the simulate button, the icon was ten blue and the virtual threads will pull the shared together as a gravity like force is applied and the T-shaped fits amazingly well onto Nate or avatar here. Once you have simulated the pattern whereby simulate mode it active or inactive, the TCA will remain on our Avatar N8. So to reset the 3D pattern, you can either go to the top of the screen and go to 3D garment and reset 3D arrangement. Or this option is also an icon form at the top of the 3D panel. Now we have some 3D icons visible, but the others are hidden as they don't fit onto my screen. So if you are working on a smaller screen or laptop like me, we need to go to the bottom of the screen here and select the 3D view. This will reveal all of the tools, all of the tools that we couldn't see before. And we want to look for this icon here. So this will be the reset 3D arranged. And to be clicks are you can see that the pieces of fabric are now away from the body and you can see all the virtual threads. If we go back to our default view. And we can press similarly again. And the teacher is simulated. A tip here is that shift a will hide your avatar. And pressing Shift a again will reveal the avatar. Sir, if you do want to have a closer inspection of the garment without the distraction of the avatar. Just hit shift a to hide and reveal the avatar. So Khloe and marvelous designer, both of the programs pul, fabric together by selling virtual thread. But the great thing with these programs is that you can often see the inner workings when you press the simulate button that brings the garment together. So I do believe you learn a lot by just watching the simulation over and over and making small adjustments. So we've imported some of the default clothing, but what would we do if we want to adjust this clothing, for example, make the sleeves longer. 6. Adjusting Garments: So the teacher is made from a front section, aback section to sleeves and these pieces that make up the color. So I can click on individual sections or I can click and drag a selection box over multiple parts of fabric to select the model. So what if I wanted to make the sleeves longer? I could select the whole piece of fabric and increase its length by pulling downwards. But create problems by scaling the whole piece of fabric as I have adjusted the shape and the other shoulder here. So what we need to do is go to this second icon here. Hold the mouse down and select edit. Pattern. Fits tool will allow us to select individual points. So I can move the individual points. Or I can drag this whole line down. If I hold shift again, it allows us to pull directly downwards, directly sideways for move at a 45 degree angle. So all these things are super useful features. So if I pull this line down now I'm release the mouse button. I've increased the length of the sleeve without modifying the shoulder area. And now I can press Simulate. Now if we go to this icon up here next to the simulate button, the shortcut for this tool is the letter q. These two allows us to pinch and drive the Garmin in a very realistic manner in the 3D view. So we can play around with our 3D garment in a very intuitive way. And here we might realize that my actually look good if we bring in a little at the waste. So we can jump over to the 2D pattern window and bring these points in. This adjustment automatically disables simulation mode. As you can tell on the top left of the screen, the simulation R0 is now gray. So when Simulation mode is active, icon is blue. And when Simulation mode is not active, the icon is grayed out. And we can toggle simulation mode by pressing the spacebar or just clicking on simulate icon. And it's a really useful tool. So if we click this icon and then we go to the strain map and where we've just brought this t-shirt in at the way, the red areas of the strain map indicate where it's tighter on the body. So there's a lot more useful tools, but we are building a base knowledge fast as there's no way we're going to remember that every function straight away. So try this yourself. Try make some long sleeves and a more narrow waist and then go to the next video. 7. Creating Garments/Tracing a Pattern: So let's move on to creating our own garments. So if I drag a selection box over all of these pieces of fabric from the T-shirt that we imported earlier. And just going to delete them. So how do we create fabric? We can create pieces of fabric in different ways here by going to this icon. So we have the Rectangle tool, we have the Ellipse tool, and we have the polygon tool. So let's start with the Rectangle tool and just click and drag. We can make rectangle pieces of fabric. And notice when they appear in the 2D pattern window, they also appear in the 3D window on the left. If I wanted to create a piece of fabric of a certain size, I can just click once and then I can input my specific measurements. So again, really useful if you are copying real life design and you already have the measurements. This may be a really useful feature. And then the Ellipse tool, very similar to the rectangle tool, but of course we are making circular pieces of fabric instead. So I can make a circular piece of fabric of any size by clicking and dragging. Or I can click once and input my specific size, then there is the polygon to. So I use the polygon tool to make custom shaped pieces of fabric. So we have the polygon tool I can click to make an individual point. Then I can click again to make another point which has a straight line in between. And if I join up these points, I can therefore make a closed shape. So with the polygon tool, if I hold the mouse button down, when I'm making a new points, I can make a BCA CAB. So drawing shapes like this to Adobe Illustrator if you've worked with that software before. We can also make curved lines by holding down the command button. So the command button on the Mac or the control button on a PC. So we hold on, that button was clicking. We can make a cab. So there's two ways of making a cab, BCA CAB, or by holding down the button and clicking. But if we now press simulate these pieces of fabric and not Bachelier sewed to anything. So if you press Simulate, they should just drop straight onto the floor. But save, I move this piece of fabric here just on top of needs head and lamprey simulate. It should just land on his head, maybe fall off. So gravity applies in a way that's similar to real-life here. We can adjust where they are in a 2D pattern window, but this movement is not replicated in the 3D window. We can also move them in the 3D window separately here by just clicking on them and using the hours that appear. And we can rotate them by adjusting the curved lines here. So that's the very basics of joining pieces of fabric. Now instead of trying to make your fast pattern from scratch with no guidance. I've actually provided an image of a pattern in the workshop resources. So I've provided a pattern for a long-sleeved jumper or cookie. We're going to trace that image instead of spending a lot of time trying to create our own design. So if you have an image or a line drawing of a pattern, we can actually import it into our 2D pattern window. And we can do this by going to the TV pattern window and just right-clicking and then clicking import background image. So make sure you've downloaded the workshop resources so we can locate this file. And if we just click this tiny folder icon here, we can then browse our computer to locate that file. So locate that file, that background images in the 2D pattern windows, not in a 3D window. And now we can trace these pieces here. So using the polygon tool that I just went through earlier, we can actually just trace these pieces of fabric in this image. So let's select the polygon tool. And all these pieces of fabric are symmetrical. So that's important to know because we can just draw half of this piece and then symmetrically unfolded, which guarantees that these two shapes are identical. Again, this is a workflow that would happen in real life pattern cutting where you can physically fold the piece of fabric in half and make sure that they are the same size. So let's trace this left-hand from panel of the shared by first clicking and just making this corner here. And then going upwards. And for this bit here, I'm just going to press down the mouse and hold to make BCA CAB for the shoulder area. They make another straight line. And then to complete the shape, make another BCA CAB by pressing the mouse button down and holding. So there's different types of cloning. If I right-click on this piece of fabric. And under clone Patton with link editing, there is symmetric pattern with selling symmetric Patton and instance Patton. Instance pattern. If I click on that, just creates a new instance of this pattern just above here, which is very similar to copying and pasting. Symmetric pattern is kind of like copying and pasting the mirror image. And symmetric pattern with sewing is same as the symmetric pattern but also copies and inserting that would be applied to this piece. But we're going to ignore that for now, as we haven't seen this yet. So, so what we actually want to do is unfold this piece. We're not going to clone it, but we have to have the edit to select it. So we go to the edit pattern tool. And the reason why we have to have this tool selected is because we need to select this one individual line fast before we can unfolded. So by selecting this one individual line, we are indicating where we want the fold to happen. So we select this individual line and right-click, we can now click on fold. So we have two options here. We have unfold and we have unfold symmetric editing with sewing. If I just unfold it, this piece which I will do now just to show you what happens, unfold this PCR, it has no symmetrical editing, which means I can move the individual prints around. And this movement of this individual point is not mirrored by this point over here. So I'm going to press Command Z to undo that. And now I'm going to unfold with symmetric editing. So personally I prefer this, especially as this government is very symmetrical. Now if I select this individual point, you can see that this movement is mirrored. So actually makes the editing process a little bit quicker as it don't have to move this point and then move that point. So all of these pieces inside this comment of symmetrical, so we're just going to repeat that process for each piece of fabric. Don't worry about the hood right now though, as we are going to go through that in another video, as it's a little bit more advanced. But we haven't sold are pieces of fabric together. So let's move on. 8. Sewing Garments: So we need to sell these pieces of fabric together, but let's reposition them fast so they hover over Nate, slightly away from the body. As right now they're very flat. As we move pieces of fabric in a 3D window, notice that we are not moving, they're flat position in the 2D pattern window. We can manually move pieces around using the arrows and the calves that appear when we click on a piece of fabric. Now, I really recommend using the random colors tool here, so we can identify pieces of fabric more easily. So this is a really useful tool enclose 6. This is especially useful when there are lots of small pieces of fabric and details on complex garment. So this is not applying a colour to our fabric is simply just a tool that helps us distinguish between different pieces of fabric. So when we just ten, this tool of it's almost like an overlay, the garment goes back to its original material. We can also activate this separately in the 2D window, on a 3D window and the colors will correspond. So I'm going to activate the random colors in both the 3D window and the 2D pattern window. Okay, so now for the arrangements points, arrangement points are super useful. So click this icon here. Then click this option with the small blue dots to reveal the arrangement points. Okay, so let's start with this leaves. If we select a sleeve and then we hover your mouse over one of these blue dots. And then click, we can place the sleep on the arm and he kind of cabs around on here. And now choose the front section of the t-shirt. And I'm going to range here, I'm gonna make sure that I click the dot in the middle of the torsos. I can use the keyboard shortcuts you have remember, or I can right click to jump to different viewpoints. So you can see the garment calves around the body really nicely. So for example, I could even put like the slave down here on the leg. Obviously we're going to keep on the arm here. Okay. So unimportant nor about the back piece. So I would always advise flipping this. It will prevent you having some sewing problems later on. So if I didn't flip this back face, it will be inside out. So if I had a pattern or a color on the surface, this would be facing inward, sir. That's why we need to flip it. So it's facing the right way. Now, close 6 has an auto, So feature, which I've found works quite well. So I'll click it and I'll show you where it predicts too. So I mentioned it works quite well because we use these arrangement points. It has worked quite well here, but I can't just make this tutorial until you suppress auto. So, so I'm showing you how to so individual pieces properly because although the auto safety checks does look like it could be quite useful, you would definitely have to. So you're in pieces at some point to, so these pieces of fabric together, we have these icons up here that look like sewing machines. We have options for segments, xoring, freehand staring, and to edit or AD existing sewing. So click segment serving. So let's begin by solving the sleeves together. I feel like that's a good place to start as we just need to. So these two sides together, so it forms a tube like shape, which will be the sleeve. So let's just click on this one line here. And then when we hover over this other line to sew them together, if I move my mouse to the top of this line, and then I move my mouse to the bottom of this line. You can see that I have this tiny horizontal line shifts wherever I put my kasa. Now we want these horizontal lines to match up. If we don't match them up, the sewing will not be straight. So let's just make these horizontal lines match up and then click to sew them together. And now we can see the virtual threads in the 3D view for the sleeve. So the sleeves are saints gather, but we need to serve the sleeves to the body at the armpit area. So we need to serve the sleeve to the AMPA area on both the front and the back pieces. So although we have arranged the fabric on the arrangement. 9. Adding a Hood: Okay, so let's add a hurt. Before we trace the heard, we are going to deactivate the random color mirrored and go to textured surface. If we have textured surface activated, then we can see what phase is the front and what phase is the back. For example, I have two square pieces of fabric here to demonstrate the library take this one square, I can see that is the back of the fabric because a darker color. So let's use this for the hood so we can ensure the insight phase. So the darker face will be inside the head and not inside out. Now let's trace this section of the hood. So select the polygon tool and trace the shape. So right-click and copy and right-click again to mirror piece. This piece, this is I copy and paste for pasting the mirror image. Let's now rotate and move these sections approximately, just so we can know that they are orientated in the direction that we want. Then let's activate the arrangement prints and place them around the head. So the two pieces together by using the segment sewing tool. Then at the top of the head. Survey simulated. Now let's go to salon on Nate head. It's not attached to the rest of the garments, why he's pulling off. We need to, so the third to the body. To do this, we want to use the free hand sewing too, as we are selling more than one of these lines or segments together, let's bring the 200 pieces up here for more clarity, select the free-hand serving tool. Click once on this point here, and slide the cast down here to this point and click again. So we're going to sew some Fred from area we have selected now by holding Shift down and going to this line around the front of the neck than continuing to this line here at the back of the neck. We can, so these virtual threads, we need to double check in the 3D view that they are not crossed over. You may get confused here as it might take you a few attempts to match up the threads without causing them over. Remember to use that small line is guidance and try to follow what I'm doing. But open the project file in the resources if you are struggling. 10. Pockets: Okay, now let's add some pockets, which isn't as difficult as you may imagine. We just show them to the garment apart from the little slot where your hands will go into the pockets, of course. Now, next to the polygon two Rectangle Ellipse tool, depending on what you have activated currently, is another shape making two, which is an internal line making two. So if we wanted to make lines inside a piece of fabric, we use this to. Now let me show you the workflow of making pockets. So select the internal polygon tool. Go to this front piece of fabric, which remember has symmetrical editing and draw one side of the pocket, like closing it off at the point where you began. This action will be mirrored. Now go back to this tool on the top left so we can select the whole piece of fabric, right-click and choose instance pattern. Now click anywhere to put this copied instance, you should see appear in both of the windows. Select the pocket area of this instance, right-click and choose cooked. And so now luckily this is digital and we're not wasting any fabric. We can select the outer area, and so we're left with just the pocket. Let's move the pocket in the 3D View so it's approximately close to where it should be. And now simply we can just use the segment selling tool to serve the pockets to the Garment at the internal lines on the original from Ps, which are exactly the same size because we copy the incidence pattern. I hope this task shows how you gain knowledge. Grout is cause as I don't think these pockets should be that difficult now that we're familiar with tools when you're ready, click Simulate, and there's your pockets. We can even drag them around to inspect. So we've your own designs. This demonstrates how quick it would be to visualize a variation of your garment to something simple, like the addition of pockets aerobically, like you becoming familiar with the basic. So let's move on to the final video of this series, where we quickly go over ways to add interesting fabric and export the garment. Thank you for watching so far. 11. Custom Fabric and Preparing to Export: Let's go to the library tab again, double-click on fabric to open the default February. I've also included some fabrics in the resource folder. If you can't find any here, choose a fabric you like. Again, if we hover the mouse over, we can see a more detailed preview. I'm going to select this pink cotton double-click, sorry appears in our Object Browser. I minimize my Object Browser and property editor area to make more space, but I'm going to click the tabs to reopen. Now. Now we need to apply the fabric to each piece of our Garmin. As remember, they are all separate pieces that make up the jumper. Each piece could be a different fabric if desired. We're going to select all the pieces of fabric. The shortcut to select all is command a. Then look for the fabric category, which is in blue writing in the property editor. Now we are looking for this option here. We want to change the default fabric to the fabric. We selected. A preview here will go pink, but we can't see the full effect of the fabric material until we render it in better quality, clue would slow down remarkably if high resolution fabrics were applied to our 3D view here. Once we're here, let's increase the thickness property for thicker cotton jumper effect. We will see in our rendered image, there are also apps that you can customize here. So play around with that. If we go to render the top of the screen, there are two options, render and render to close it. Closer to closer. Or closet is an online library which is amazing if you're working with teams or want to consolidate all your designs in one place. Let's have a look. I'm going to click run that with closed set, which opens my internet browser at style dot closet.com. Lots of different features here for you to explore. So you're going to update it. Urn whack room, or a team that you're working with. And here is the 3D low-res model. The high resident assessor will take five hours to upload here. But after i recall that this is actually much quicker than I took about 30 minutes. This is amazing. You can leave notes and everything. So Pateman, class challenge or class project TiVo is to make your own jumper and upload it to your closer through closet account and post the link on the course page for people to check out. That will be cool. The overran, the option will be more consuming of your computer, but let's see what the rendered image will actually look like. So clicking render will open a window like the one click start render. So look, this looks quite key and cozy actually. But yet the additional trousers would have been good. You can adjust the Render Settings and everything here, but there will be another video for that in more detail. I think this is all the basic essential functions of color that you need to know to enable you to play around yourself and try and create simple garments. You can also apply these skills to marvelous design as effectively gland the beginning of two programs on my channel, there's an intermediate course coming up, so check that out and follow me for updates and trying to keep my courses short at around ten clips, each posting regularly so you can follow along on top of your skills by working on my class projects. If you have time, please review this course as it will allow me to create better content more frequently. But for now, enjoy making your own designs and thank you for watching.