When I’ve finished the clothing, and I’m happy with the final result, I use the Create and Edit Topology tool; I find this adds a lot of speed to the Marvelous Designer workflow. This allows me to create the topology directly, and automatically adapt it into the simulated clothes. Again, I find it’s easier to adapt, create, edit, and visualize the topology this way rather than by using other software. Once the topology is done, I add final touches in Maya. Then I add the clothes to the rest of the project, organize all the UVs, and then I transfer everything into ZBrush once again.

Back in ZBrush, I try to achieve the same wrinkle style as Leyendecker’s, but in 3D. This was undoubtedly the most complicated part of this project. To make this easier, I use the Transpose Master tool; this allows you to unify all the subtools at once, so that we can move, modify, and pose the model as needed with masks . While doing this, I also add wrinkles, and detail them. Finally, when the high-poly model is finished, it’s time to export two versions of the scene, one low-poly, another high-poly with decimation carried out. This allows us to have two different versions to bake in Painter.