Documentation:Clothes - Revision history

Mtknife: /* What if automatic vertex groups don't work? */

2020-06-29T04:20:38Z

‎What if automatic vertex groups don't work?

Mtknife: /* What if automatic vertex groups don't work? */

2020-06-29T04:17:23Z

‎What if automatic vertex groups don't work?

Mtknife: /* What if automatic vertex groups don't work? */

2020-02-23T04:16:55Z

‎What if automatic vertex groups don't work?

Mtknife: Added reference to the hide command.

2019-07-03T02:36:17Z

Added reference to the hide command.

Mtknife at 02:52, 4 November 2016

2016-11-04T02:52:05Z

Mtknife: Added tips on fixing distortions by using custom vertex groups.

2016-11-04T02:49:31Z

Added tips on fixing distortions by using custom vertex groups.

Aranuvir at 12:08, 27 May 2016

2016-05-27T12:08:27Z

Joepal at 11:42, 20 May 2016

2016-05-20T11:42:27Z

Joepal at 11:42, 20 May 2016

2016-05-20T11:42:10Z

Show changes

Joepal at 11:21, 20 May 2016

2016-05-20T11:21:46Z

@@ Line 75: / Line 75: @@
 #  Select the human mesh, and go into "Edit" mode.  Select only the vertices that make up the appropriate helper object (or in some cases, like a long coat or a dress, objects).  Doing this will eliminate a lot of the "wedgie" effect, which is due mostly to the skin-tight contours of the body itself and the tights helper in the area around the crotch.  (A similar problem occurs between the breasts, with clothes sticking inside the cleavage like a rubber wetsuit, rather than stretching across the gap like most fabrics do.)  This procedure can be tricky to do by hand, since some objects cover others (the "Hair" object makes the upper part of the "Tights" object, which is used for shirts, especially hard to work with), and you can't just delete the stuff you don't need, since this fouls up the program.  Fortunately, each helper object has a stand-in material with a different color, and there's a handy "Show Selection" button that automatically selects the most commonly used sets of vertices ("Body", "Tights", "Skirt", "Coat", and "Hair"); the hide command ("H") is also useful here ("alt-H" to unhide everything hidden).
 #  Unselect all the vertices that aren't directly underneath the clothes in question.  Thus, if you're making a short skirt, not only will you not select the layers of body and tights vertices beneath the skirt helper object, but you'll make sure that skirt helper vertices that lie below your skirt's hemline (or above its waist) also aren't selected.  This step eliminates some distortions (huge wrinkles, mostly) that occur for clothing whose vertices are far away from the body.
-#  Finally, get rid of vertices in "crevices".  For reasons that are not entirely clear (better understanding of the body than of clothes on the part of the sculptor, probably), the shapes of the helper objects don't correspond very well to real clothes in certain places.  As mentioned above, the upper tights follow the contour of the skin between the breasts, and the lower part of the tights dips into the "crack" between the buttocks, and clings skin-tight against the area where the legs join&mdash;as if it were painted on.  The skirt helper at least stretches across the space between the legs, but it, too, dips into the crack between the buttocks, rather than stretching between the buttocks like a real skirt would.  Unselect the vertices in question:  fortunately, they're easy to find, because they all lie at or near the center line of the human mesh (that is, points whose "X" value is 0, and which lie on the plane that divides the left and right sides of the body).  You might want to substitute other points that don't lie directly beneath the clothes, but which don't dip into the crevices.  This step should eliminate almost all of the wedgie effect not eliminated by step #1.  Note that this particular step is somewhat hit-or-miss:  it will make things better for some pieces of clothing, but worse for others.  Experiment to find out what works best for the clothing you're creating,
+#  Finally, get rid of vertices in "crevices".  For reasons that are not entirely clear (better understanding of the body than of clothes on the part of the sculptor, probably), the shapes of the helper objects don't correspond very well to real clothes in certain places.  As mentioned above, the upper tights follow the contour of the skin between the breasts, and the lower part of the tights dips into the "crack" between the buttocks, and clings skin-tight against the area where the legs join&mdash;as if it were painted on.  The skirt helper at least stretches across the space between the legs, but it, too, dips into the crack between the buttocks, rather than stretching between the buttocks like a real skirt would.  Unselect the vertices in question:  fortunately, they're easy to find, because they all lie at or near the center line of the human mesh (that is, points whose "X" value is 0, and which lie on the plane that divides the left and right sides of the body).  You might want to substitute other points that don't lie directly beneath the clothes, but which don't dip into the crevices.  If it works, this procedure should eliminate almost all of the wedgie effect not eliminated by step #1.  However, note that this particular step is somewhat hit-or-miss:  it will make things better for some pieces of clothing, but worse for others.  Experiment to find out what works best for the clothing you're creating,
 === Generate the clothes file ===

@@ Line 73: / Line 73: @@
 If the vertices in the clothing are associated with vertices in the human mesh that have a very different shape, bad things tend to happen.   To avoid this problem, you have to do three things before you hit "Create Vertex Groups" :
-#  Select the human mesh, and go into "Edit" mode.  Select only the vertices that make up the appropriate helper object (or in some cases, like a long coat or a dress, objects).  This can be tricky to do by hand, since some objects cover others (the "Hair" object makes the upper part of the "Tights" object, which is used for shirts, especially hard to work with), and you can't just delete the stuff you don't need, since this fouls up the program.  Fortunately, each helper object has a stand-in material with a different color, and there's a handy "Show Selection" button that automatically selects the most commonly used sets of vertices ("Body", "Tights", "Skirt", "Coat", and "Hair"); the hide command ("H") is also useful here ("alt-H" to unhide everything hidden).  Doing this will eliminate a lot of the "wedgie" effect, which is due mostly to the skin-tight contours of the body itself and the tights helper in the area around the crotch.  (A similar problem occurs between the breasts, with clothes sticking inside the cleavage like a rubber wetsuit, rather than stretching across the gap like most fabrics do.)
+#  Select the human mesh, and go into "Edit" mode.  Select only the vertices that make up the appropriate helper object (or in some cases, like a long coat or a dress, objects).  Doing this will eliminate a lot of the "wedgie" effect, which is due mostly to the skin-tight contours of the body itself and the tights helper in the area around the crotch.  (A similar problem occurs between the breasts, with clothes sticking inside the cleavage like a rubber wetsuit, rather than stretching across the gap like most fabrics do.)  This procedure can be tricky to do by hand, since some objects cover others (the "Hair" object makes the upper part of the "Tights" object, which is used for shirts, especially hard to work with), and you can't just delete the stuff you don't need, since this fouls up the program.  Fortunately, each helper object has a stand-in material with a different color, and there's a handy "Show Selection" button that automatically selects the most commonly used sets of vertices ("Body", "Tights", "Skirt", "Coat", and "Hair"); the hide command ("H") is also useful here ("alt-H" to unhide everything hidden).
 #  Unselect all the vertices that aren't directly underneath the clothes in question.  Thus, if you're making a short skirt, not only will you not select the layers of body and tights vertices beneath the skirt helper object, but you'll make sure that skirt helper vertices that lie below your skirt's hemline (or above its waist) also aren't selected.  This step eliminates some distortions (huge wrinkles, mostly) that occur for clothing whose vertices are far away from the body.
 #  Finally, get rid of vertices in "crevices".  For reasons that are not entirely clear (better understanding of the body than of clothes on the part of the sculptor, probably), the shapes of the helper objects don't correspond very well to real clothes in certain places.  As mentioned above, the upper tights follow the contour of the skin between the breasts, and the lower part of the tights dips into the "crack" between the buttocks, and clings skin-tight against the area where the legs join&mdash;as if it were painted on.  The skirt helper at least stretches across the space between the legs, but it, too, dips into the crack between the buttocks, rather than stretching between the buttocks like a real skirt would.  Unselect the vertices in question:  fortunately, they're easy to find, because they all lie at or near the center line of the human mesh (that is, points whose "X" value is 0, and which lie on the plane that divides the left and right sides of the body).  You might want to substitute other points that don't lie directly beneath the clothes, but which don't dip into the crevices.  This step should eliminate almost all of the wedgie effect not eliminated by step #1.  Note that this particular step is somewhat hit-or-miss:  it will make things better for some pieces of clothing, but worse for others.  Experiment to find out what works best for the clothing you're creating,

@@ Line 75: / Line 75: @@
 #  Select the human mesh, and go into "Edit" mode.  Select only the vertices that make up the appropriate helper object (or in some cases, like a long coat or a dress, objects).  This can be tricky to do by hand, since some objects cover others (the "Hair" object makes the upper part of the "Tights" object, which is used for shirts, especially hard to work with), and you can't just delete the stuff you don't need, since this fouls up the program.  Fortunately, each helper object has a stand-in material with a different color, and there's a handy "Show Selection" button that automatically selects the most commonly used sets of vertices ("Body", "Tights", "Skirt", "Coat", and "Hair"); the hide command ("H") is also useful here ("alt-H" to unhide everything hidden).  Doing this will eliminate a lot of the "wedgie" effect, which is due mostly to the skin-tight contours of the body itself and the tights helper in the area around the crotch.  (A similar problem occurs between the breasts, with clothes sticking inside the cleavage like a rubber wetsuit, rather than stretching across the gap like most fabrics do.)
 #  Unselect all the vertices that aren't directly underneath the clothes in question.  Thus, if you're making a short skirt, not only will you not select the layers of body and tights vertices beneath the skirt helper object, but you'll make sure that skirt helper vertices that lie below your skirt's hemline (or above its waist) also aren't selected.  This step eliminates some distortions (huge wrinkles, mostly) that occur for clothing whose vertices are far away from the body.
-#  Finally, get rid of vertices in "crevices".  For reasons that are not entirely clear (better understanding of the body than of clothes on the part of the sculptor, probably), the shapes of the helper objects don't correspond very well to real clothes in certain places.  As mentioned above, the upper tights follow the contour of the skin between the breasts, and the lower part of the tights dips into the "crack" between the buttocks, and clings skin-tight against the area where the legs join&mdash;as if it were painted on.  The skirt helper at least stretches across the space between the legs, but it, too, dips into the crack between the buttocks, rather than stretching between the buttocks like a real skirt would.  Unselect the vertices in question:  fortunately, they're easy to find, because they all lie at or near the center line of the human mesh (that is, points whose "X" value is 0, and which lie on the plane that divides the left and right sides of the body).  You might want to substitute other points that don't lie directly beneath the clothes, but which don't dip into the crevices.  This step should eliminate almost all of the wedgie effect not eliminated by step #1.
+#  Finally, get rid of vertices in "crevices".  For reasons that are not entirely clear (better understanding of the body than of clothes on the part of the sculptor, probably), the shapes of the helper objects don't correspond very well to real clothes in certain places.  As mentioned above, the upper tights follow the contour of the skin between the breasts, and the lower part of the tights dips into the "crack" between the buttocks, and clings skin-tight against the area where the legs join&mdash;as if it were painted on.  The skirt helper at least stretches across the space between the legs, but it, too, dips into the crack between the buttocks, rather than stretching between the buttocks like a real skirt would.  Unselect the vertices in question:  fortunately, they're easy to find, because they all lie at or near the center line of the human mesh (that is, points whose "X" value is 0, and which lie on the plane that divides the left and right sides of the body).  You might want to substitute other points that don't lie directly beneath the clothes, but which don't dip into the crevices.  This step should eliminate almost all of the wedgie effect not eliminated by step #1.  Note that this particular step is somewhat hit-or-miss:  it will make things better for some pieces of clothing, but worse for others.  Experiment to find out what works best for the clothing you're creating,
 === Generate the clothes file ===

@@ Line 73: / Line 73: @@
 If the vertices in the clothing are associated with vertices in the human mesh that have a very different shape, bad things tend to happen.   To avoid this problem, you have to do three things before you hit "Create Vertex Groups" :
-#  Select the human mesh, and go into "Edit" mode.  Select only the vertices that make up the appropriate helper object (or in some cases, like a long coat or a dress, objects).  This can be tricky to do by hand, since some objects cover others (the "Hair" object makes the upper part of the "Tights" object, which is used for shirts, especially hard to work with), and you can't just delete the stuff you don't need, since this fouls up the program.  Fortunately, each helper object has a stand-in material with a different color, and there's a handy "Show Selection" button that automatically selects the most commonly used sets of vertices ("Body", "Tights", "Skirt", "Coat", and "Hair").  Doing this will eliminate a lot of the "wedgie" effect, which is due mostly to the skin-tight contours of the body itself and the tights helper in the area around the crotch.  (A similar problem occurs between the breasts, with clothes sticking inside the cleavage like a rubber wetsuit, rather than stretching across the gap like most fabrics do.)
+#  Select the human mesh, and go into "Edit" mode.  Select only the vertices that make up the appropriate helper object (or in some cases, like a long coat or a dress, objects).  This can be tricky to do by hand, since some objects cover others (the "Hair" object makes the upper part of the "Tights" object, which is used for shirts, especially hard to work with), and you can't just delete the stuff you don't need, since this fouls up the program.  Fortunately, each helper object has a stand-in material with a different color, and there's a handy "Show Selection" button that automatically selects the most commonly used sets of vertices ("Body", "Tights", "Skirt", "Coat", and "Hair"); the hide command ("H") is also useful here ("alt-H" to unhide everything hidden).  Doing this will eliminate a lot of the "wedgie" effect, which is due mostly to the skin-tight contours of the body itself and the tights helper in the area around the crotch.  (A similar problem occurs between the breasts, with clothes sticking inside the cleavage like a rubber wetsuit, rather than stretching across the gap like most fabrics do.)
 #  Unselect all the vertices that aren't directly underneath the clothes in question.  Thus, if you're making a short skirt, not only will you not select the layers of body and tights vertices beneath the skirt helper object, but you'll make sure that skirt helper vertices that lie below your skirt's hemline (or above its waist) also aren't selected.  This step eliminates some distortions (huge wrinkles, mostly) that occur for clothing whose vertices are far away from the body.
 #  Finally, get rid of vertices in "crevices".  For reasons that are not entirely clear (better understanding of the body than of clothes on the part of the sculptor, probably), the shapes of the helper objects don't correspond very well to real clothes in certain places.  As mentioned above, the upper tights follow the contour of the skin between the breasts, and the lower part of the tights dips into the "crack" between the buttocks, and clings skin-tight against the area where the legs join&mdash;as if it were painted on.  The skirt helper at least stretches across the space between the legs, but it, too, dips into the crack between the buttocks, rather than stretching between the buttocks like a real skirt would.  Unselect the vertices in question:  fortunately, they're easy to find, because they all lie at or near the center line of the human mesh (that is, points whose "X" value is 0, and which lie on the plane that divides the left and right sides of the body).  You might want to substitute other points that don't lie directly beneath the clothes, but which don't dip into the crevices.  This step should eliminate almost all of the wedgie effect not eliminated by step #1.

@@ Line 69: / Line 69: @@
 When you use MakeClothes, at some point you have to load a target object ("Load Human Mesh").  These come in two basic varieties, with helpers (e.g., "Average Female With [sic] Helpers") and without (e.g., "Average Female"); the obvious difference is that the "With Helpers" objects include not only the human body, but the "helpers" mentioned briefly in the previous section:  they're a bunch of vertices that represent different types of clothing, and hair.  Thus, just below the waist, if you examine the human mesh closely, you'll find three layers of vertices:  the body itself, a tights "object" that lies just on top of the body, and a skirt "object" that conforms to the body in places, but stretches over it in others (between the legs, to be precise).
-For the modeler, the obvious use of these targets ("human meshes") is to fit clothes; if you use the "with Helpers" versions, you can also use the helper "objects" as templates for creating clothes (this works well for skirts or hair, but with shirts, you run into the problem that the edge loops don't coincide with where you'd want to put seams).  However, the targets also serve another purpose:  when you hit the "Create Vertex Groups" button and then the "Make Clothes" button, the program calculates the distance between each vertex of the item of clothing and nearest vertices in the human mesh, and then uses these relationships to deform the item of clothing when the body moves.
+For the modeler, the obvious use of these targets ("human meshes") is to fit clothes; if you use the "with Helpers" versions, you can also use the helper "objects" as templates for creating clothes (this works well for skirts or hair, but with shirts, you run into the problem that the edge loops don't coincide with where you'd want to put seams).  However, the targets also serve another purpose:  when you hit the "Create Vertex Groups" button and then the "Make Clothes" button, the program calculates the distance between each vertex of the item of clothing and the nearest vertices in the human mesh, and then uses these relationships to deform the item of clothing when the body moves.
 If the vertices in the clothing are associated with vertices in the human mesh that have a very different shape, bad things tend to happen.   To avoid this problem, you have to do three things before you hit "Create Vertex Groups" :

@@ Line 62: / Line 62: @@
 In the images (right), we can see the vertices assigned to the Mid and Left groups for a nude human.
 <br style="clear:both" />
 === Generate the clothes file ===
@@ Line 114: / Line 128: @@
 <br style="clear:both" />
-[[File:Btmc11.png|right]]
+[[File:Btmc11.png|right]]7
 * Show License.This set of options are to add the author name, the type of license and the tags for clothes. Licensing information to be put at the top of the exported mhclo file. It consists of three strings that can contain arbitary text.
 ** Author. Defaults to: Unknown.

@@ Line 46: / Line 46: @@
 The clothes are meshes that can be modelled directly in Blender, or in another package and then imported into Blender as an obj file. Note that the mesh type is Clothing, which is the default unless the mesh has been declared to be a human. A simple method to obtain a starting point modelling is to duplicate part of the human mesh and separate it from the human. However, in this case the duplicated mesh will still be a human. To change the mesh type, press the toggle button Human. The status is now changed into Clothing.
-After loading the human, the next step is to "glue" the clothes to the human, in order that they will automatically fit the body changes. To control this association, MakeClothes uses vertex groups. Each clothing vertex must belong to exactly one vertex group, and a vertex group with the same name must exist in the human mesh as well. Only human vertices in the correct vertex group will be considered when making clothes.
+After loading the human, the next step is to "glue" the clothes to the human, in order that they will automatically fit the body changes. To control this association, MakeClothes uses vertex groups. Each clothing vertex must belong to exactly one vertex group, and a vertex group with the same name must exist in the human mesh as well. On the human side you are more liberal with the vertex groups, i.e. you can have vertices that do not belong to any vertex group or to more then one vertex group, so these vertex groups can overlap. Only human vertices in the correct vertex group will be considered when making clothes. There are special vertex groups for teeth (see: [[Documentation:Controlling the result with vertex groups|Controlling the result with vertex groups]]) and rigid vertex groups beginning with '*'.
 Vertex groups speed up the clothes-making process by pruning the search tree, and can be used to control the appearance of clothes as well. However, assigning vertex groups can be quite tedious, and in many cases it is sufficient to let MakeClothes create vertex groups automatically. This is done automatically when a human mesh is loaded. If a clothing mesh does not have any vertex groups, it is also done automatically, when the MakeClothes button is pressed.

← Older revision		Revision as of 11:42, 20 May 2016
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−	~~{\| cellspacing="11" style="width:100%;"~~
−	~~\|-style="vertical-align:top;"~~
−	~~\| style="width:33%;background-color: #EEE6E6; padding:0.5em;"\|~~
−	~~'''Note:''' This document relates to MakeHuman version 1.1.0, currently only available as a nightly build.~~
−	\|}

	MakeClothes, as its name implies, is a Blender addon that is used to construct clothing assets for use in the MakeHuman program. Clothes can be modeled using any technique that is natural. For example, clothing can be modeled from scratch, or by altering either the human mesh or the “clothing helpers” (see below) provided by the MakeClothes tool. When designing and modeling a clothing item, there are two restrictions that should be kept in mind. First, the algorithm for mapping a clothing mesh to the human mesh requires that the clothing mesh consists entirely of quad faces. Second, it is important to know that MakeClothes supports only one material per item of clothing.		MakeClothes, as its name implies, is a Blender addon that is used to construct clothing assets for use in the MakeHuman program. Clothes can be modeled using any technique that is natural. For example, clothing can be modeled from scratch, or by altering either the human mesh or the “clothing helpers” (see below) provided by the MakeClothes tool. When designing and modeling a clothing item, there are two restrictions that should be kept in mind. First, the algorithm for mapping a clothing mesh to the human mesh requires that the clothing mesh consists entirely of quad faces. Second, it is important to know that MakeClothes supports only one material per item of clothing.

← Older revision		Revision as of 11:21, 20 May 2016
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	* License. Defaults to: AGPL3		* License. Defaults to: AGPL3
	* HomePage. Defaults to:!LINK!http://www.makehuman.org/ -- http://www.makehuman.org/!/LINK!		* HomePage. Defaults to:!LINK!http://www.makehuman.org/ -- http://www.makehuman.org/!/LINK!
		+
		+
		+	=== MHBlenderTools: MakeClothes rigid fitting ===
		+	The standard clothes fitting algorithm is suitable for flexible clothes, especially clothes that follow the body closely. However, is does not work well for rigid objects like shoes, Therefore, MakeClothes has a variant suitable for rigid shoes. Rigid fitting is used on a vertex group basis, so rigid and flexible fitting can be mixed in the same piece of clothing.
		+	Rigid fitting is used for every vertex group whose name starts with a '*'. Each such vertex group in the human must contain exactly three vertices, that determine the triangle used for fitting in this group.
		+	!IMAGE!Pictures/rf-100-orig.png!/IMAGE!
		+	The use of rigid vertex groups is best explained by an example. Consider a pair of shoes, which is a rigid object. We used the standard MakeClothes settings and an adult human with the original shoe to the left. Then the mhclo file was loaded onto a baby, with the result to the right. The shoe is recognizable but it has been deformed in an undesirable way. However, even though the quality of the fitting is poor, make sure to save the mhclo file, because we will need it at the end of this tutorial.
		+	!IMAGE!Pictures/rf-110-projection.png!/IMAGE!
		+	Each clothing vertex v is associated with a triangle t in the human mesh, i.e. three human vertices v1, v2, v3. Letrdenote the location of v andr1,r2,r3the locations of the corners of the triangle. Further, let d be the perpendicular distance from the clothes vertex to the plane spanned by the triangle. MakeClothes assigns three weights w1, w2, w3, such that
		+	r= w1r1+ w2r2+ w3r3+d,
		+	where the sum of weights w1+ w2+ w3= 1. When the clothing is loaded onto a different character, the new location becomes
		+	r'= w1r'1+ w2r'2+ w3r'3+d',
		+	wherer'1,r'2,r'3are the locations of the three human vertices in the new character, and
		+	d' = Sd= (sxdx, sydy, szdz)
		+	is obtained from the original offsetdby inhomogeneous global scaling with the diagonal scale matrix
		+	S = diag(sx, sy, sz).
		+	The important observation is that the quality of the fitting depends crucially on the chosen triangle, i.e. the triple of human vertices the determines the clothes vertex location. The standard choice is to choose the human triangle closest to to clothing vertex. In rigid fitting the triangle is the same for all vertices, and is defined by the tree vertices in the vertex group.
		+	!IMAGE!Pictures/rf-120-vgroups.png!/IMAGE!
		+	Here we see the vertex groups used to fit the left shoe. The standard vertex group Left consists of all vertices close to the left shoe, in the tights helper. On the other hand, the rigid vertex group *Left only contains three vertices that define the single triangle used for all clothes vertices in this group.
		+	!IMAGE!Pictures/rf-130-triangles.png!/IMAGE!
		+	The next illustration shows the corresponding triangles used for fitting. The Left group uses many triangles obtained by triangulating the corresponding faces. Different shoe vertices are associated with triangles that are transformed differently, and the rigid character of the shoe is lost. The *Left group only has one single triangle, with corners at the three vertices in the vertex group. The same triangle is used by all left shoe vertices.
		+	!IMAGE!Pictures/rf-140-rename-vgroups.png!/IMAGE!
		+	Once the human vertex groups have been defined, we proceed with clothes-making. Rename the shoe vertex groups to Left and Right, to make the shoes use rigid fitting. Recall that the human can have several overlapping vertex groups, but in a piece of clothing each vertex must belong to exactly one group.
		+	!IMAGE!Pictures/rf-150-offset-scaling.png!/IMAGE!
		+	Next we open the Offset Scaling section and select Foot as the body part. In flexible fitting, the offsets are usually very small, and selecting the correct body part is not so important. In contrast, this step is very important in rigid fitting, because many vertices are far away from their triangles and the offsets must be scaled correctly. Press Examing Boundary for a visual inspection of which vertices define the global scale matrix..
		+	!IMAGE!Pictures/rf-160-baby-shoes.png!/IMAGE!
		+	This picture shows the shoe loaded on a baby, using flexible fitting (blue) and rigid fitting (red). Rigid fitting clearly maintains the shape of the shoe much better.
		+	However, one problem remains: bone weighting. Start up MakeHuman and load the shoes under the Geometries > Clothes tab. Export the character with a rig in one of the formats that allows that, e.g. mhx, and import the character into Blender. Now try to pose the feet. As we see in the picture below, the shoe does not follow the foot but is squashed or stretched in strange ways.
		+	!IMAGE!Pictures/rf-170-bad-deformation.png!/IMAGE!
		+	The reason is that rigid fitting affects the bone weights as well as the vertex locations. The bone weights are interpolated between the three corners of the triangle, rather than using the information from the entire foot. To correct this we need to use two different associations between clothes and human vertices: rigid fitting for vertex locations, but flexible fitting for bone weights.
		+	Fortunately, MakeHuman can handle this situation, although there is currently no elegant interface for it in MakeClothes. In a text editor, open the mhclo file obtained by standard fitting in the beginning of this tutotial (this is why you needed to save it), and copy everything after the line
		+	verts 0
		+	to the end of the new mhclo file obtained by rigid fitting. Before the copied section, insert the line
		+	weighting_verts
		+	Export the shoes again from MakeHuman and import into Blender. The shoes should now both maintain their rigid shape and deform correctly.
		+	!IMAGE!Pictures/rf-190-good-deformation.png!/IMAGE!
		+	Due to an unfortunate behavior in MakeHuman, it is possible that the updated mhclo file is not loaded after it has replaced the old one. This is because MakeHuman automatically compiles mhclo and obj files when loaded, so they can be loaded faster next time. Although this behavior is convenient for ordinary users, it is very confusing and frustrating for clothes makers. If MakeHuman insists on loading old versions of your clothes, you may need to delete the compiled files (.mhpxy and .npz), or restart MakeHuman, or both. After the compiled files are gone, the updated clothes should load without problems.
		+	!IMAGE!Pictures/rf-180-compiled-files.png!/IMAGE!