Setting Up Digital Outfits With Blender & CLO 3D

Introduction

I'm Ada Frolova, a Digital Fashion Designer specializing in 3D fashion experiences. I have diverse experience in project management and collaborative work with motion designers, 3D artists, brand managers, and art directors. Throughout my career, I have designed clothing for various brands, created concepts for 3D projects, videos, collaborations with magazines, and game characters.

In the past, I have had the opportunity to work with several notable companies, including Virtual Rags Studio, 1C Entertainment, and UNDX NFT Studio. Currently, I am working as a freelancer, allowing me to explore diverse projects and collaborations.

Throughout my career, I have been fortunate to be part of exciting projects with esteemed clients such as CHROMA, Obbi&Jappari studio, OMNI, and the Clo-Z try-on app. Additionally, I have contributed to digital campaigns for renowned magazines like KING KONG, Nocta, and PAP magazine.

Getting Started With Digital Fashion

Three years ago, I embarked on digital fashion experimentation. Previously, I worked as a fashion designer, skilled in sewing and pattern making. The concept of digital fashion revolutionized my approach, inspiring digital visualization. Brands seek simple movements for lookbooks and social media. Crafting slow motion videos with animated garments brings immense joy. The process is truly breathtaking, requiring meticulous attention to detail. Each fabric reacts uniquely to movement.

Software

I primarily rely on CLO 3D as my go-to software for fabric simulation. It provides an intuitive interface and comprehensive control over fabric settings and item details during the movement process. However, I occasionally encounter challenges with retopology and file exporting, which leads me sometimes to swiftly animate fabric using Blender.

Furthermore, I am constantly exploring new tools to enhance and streamline production. I am inquisitive and always on the lookout for innovative solutions that can further elevate my cloth simulations and optimize my workflow.

The Workflow

First of all, I work with references for clothing and movement. Speaking about my latest personal project, I drew quick concepts for items, inspired by funny animations from Mixamo. After auto avatar rigging through Mixamo, the next step is creating the clothes. I utilize CLO 3D, the same software I use for fabric animation. The process of developing clothes for simulation differs from that of static rendering. It requires anticipating potential folds and creases during the sewing stage.

Once the clothes, including pre-texturing, are completed, we can proceed with the simulation. Sometimes, with good preparation, the clothes can be animated successfully on the first attempt. However, in most cases, it takes additional time to fine-tune the desired settings. I back up UV maps only after the simulation. Exporting animated clothes from CLO 3D is only possible in Alembic format. For rendering, I prefer using Blender, which perfectly meets my needs.

Simulating Clothes

The preparation phase is a crucial aspect of successful item simulation. In multi-layered outfits, it is essential to separate each layer. For items like socks, tights, and simple underwear, it is often more efficient to represent them as textures on the avatar rather than simulating them individually. It can be beneficial to incorporate transparent details, such as an open jacket or a skirt attached to the underwear, for added realism. CLO 3D offers specific measurement tools that enable precise attachment of edges or lines in an item to the avatar. For example, this feature assists in keeping a hat securely on the avatar's head and aligning the sleeves accurately with the hands. The simulation process in Clo3D is procedural, but you have the flexibility to modify both the simulation and fabric settings as needed.

Lighting and Rendering

As a Digital Fashion Designer, I typically collaborate with pre-prepared, rigged, and animated avatars. However, for personal projects, such as my own, I animate avatars using Daz Studio. The duration required for a single simulation varies based on the complexity of the items but generally spans at least one full working day. Another crucial aspect of working with fabric for me is texturing. I employ Adobe Substance 3D Painter for texturing and utilize shader textures in Blender. Working with fabric in Blender is a delight due to the SubSurface setting, which allows for natural light transmission through the fabric.

Conclusion

A great starting point is to digitally replicate your favorite wardrobe items. Pay close attention to recreating the stitches and wrinkles, as these details contribute to the realistic appearance of digital clothing. Personally, I found creating a video showcasing the clothes in motion to be immensely valuable in capturing the fabric's unique style of movement. Developing a strong understanding of the physics of different materials is highly beneficial in this process.

Ada Frolova, Digital Fashion Designer

Interview conducted by Arti Burton