Do you want to dedicate yourself to Organic 3D Modeling? This program will give you the opportunity to learn from the best in the industry" 

The current realism that many video games present can be separated into two branches. There are the deliveries that provide incredible cinematics, with countless realistic effects and that introduce the user in a scene almost similar to that of a movie. On the other hand, there are also titles with fantasy worlds and characters that are out of proportion to reality: long arms, bulging eyes, mouths with fangs, etc. In both cases, they have one thing in common, they have been made following a Organic 3D Modeling system.

In this sense, this technique has come to be considered as an art in itself, in which it is not only enough to have artistic and aesthetic notions, but also necessary to have technical knowledge to handle the tools used for this purpose. Likewise, the basis of modeling focuses on the millimetric control of the elements that affect the geometry (textures, topology, smoothing, etc.), thus obtaining a higher visual quality of the character or the environment that is designed.

For all these reasons, many professionals have begun to specialize in this field, becoming an indispensable requirement for those video game programmers who wish to work with large companies or independently.  

Under this premise, this program has been devised, which not only seeks to provide theoretical knowledge about the tools used for Organic 3D Modeling, but goes a step further: to help the video game developers to improve their professional profile. This will be supported by different real cases presented by experts in the sector and by performing practical exercises to polish their skills.

All this condensed in a program that allows a direct qualification, in which it will not be necessary to do a final work to start practicing as a specialist in the area. Likewise, the teaching methodology allows special emphasis to be placed on those competencies that are necessary to achieve professional success.

Knowing and handling Organic 3D Modeling will allow you to become professionally independent and undertake your own projects”  

This Professional master’s degree in Organic 3D Modeling  contains the most complete and up-to-date scientific program on the market. Its most notable features are:

• The development of case studies presented by experts in 3D modeling
• The graphic, schematic, and practical contents with which they are created, provide practical information on the disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

Today is a good time to start learning. Don't delay any longer and you'll find that career opportunity you're looking for”

The program’s teaching staff includes professionals from the sector who contribute their work experience to this training program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive training programmed to train in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts. 

Creating figures in Organic 3D Modeling is not easy, but in this program you will discover the tricks of the pros to achieve it”

Hold a university degree from one of the largest digital universities in the world: TECH”

The contents of this Professional master’s degree meet all the requirements that video game professionals are looking for when specializing in Organic 3D Modeling: time flexibility thanks to its online mode; availability of the contents at any time; and a direct degree, in which it will not be necessary to submit a final work to obtain the accreditation. In addition, students are provided with a complete syllabus and updated to the requirements of the sector.

Want to know how Final Fantasy characters' hair is created? Then this program is for you" 

Module 1. Anatomy

1.1. General Skeletal Masses and Proportions

1.1.1. Bones
1.1.2. The Human Face
1.1.3. Anatomical Canons

1.2. Anatomical Differences between Genders and Sizes

1.2.1. Shapes Applied to Characters
1.2.2. Curves and Straight Lines
1.2.3. Behavior, Bones, Muscles and Skin

1.3. Head

1.3.1. The Skull
1.3.2. Muscles of the Head
1.3.3. Layers: Skin, Bone and Muscle Facial Expressions

1.4. The Torso

1.4.1. Torso Musculature
1.4.2. Central Axis of the Body
1.4.3. Different Torsos

1.5. The Arms

1.5.1. Joints: Shoulder, Elbow and Wrist
1.5.2. Arm Muscle Behavior
1.5.3. Detail of the Skin

1.6. Hand Sculpting

1.6.1. Hand Bones
1.6.2. Hand Muscles and Tendons
1.6.3. Hand Skin and Wrinkles

1.7. Leg Sculpting

1.7.1. Joints: Hip, Knee and Ankle
1.7.2. Muscles of the Leg
1.7.3. Detail of the Skin

1.8. The Feet

1.8.1. Bone Construction for the Foot
1.8.2. Foot Muscles and Tendons
1.8.3. Foot Skin and Wrinkles

1.9. Whole Human Figure Composition

1.9.1. Complete Creation of a Human Base
1.9.2. Joint and Muscle Attachment
1.9.3. Skin Composition, Pores and Wrinkles

1.10. Complete Human Model

1.10.1. Model Polishing
1.10.2. Hyper Skin Detail
1.10.3. Composition

Module 2. Retopology and Maya Modeling

2.1. Advanced Facial Retopology

2.1.1. Importing into Maya and the Use of Quad Draw
2.1.2. Retopology of the Human Face
2.1.3. Loops

2.2. Human Body Retopology

2.2.1. Creation of Loops in the Joints
2.2.2. Ngons and Tris and When to Use Them
2.2.3. Topology Refinement

2.3. Retopology of Hands and Feet

2.3.1. Movement of Small Joints
2.3.2. Loops and Support Edges to Improve the Base Mesh of Feet and Hands
2.3.3. Difference of Loops for Different Hands and Feet

2.4. Differences Between Maya Modeling vs. ZBrush Sculpting

2.4.1. Different Workflows for Modeling
2.4.2. Low Poly Base Model
2.4.3. High Poly Model

2.5. Creation of a Human Model from Scratch in Maya

2.5.1. Human Model Starting From the Hip
2.5.2. General Base Form
2.5.3. Hands and Feet and their Topology

2.6. Transformation of Low poly Model to High Poly

2.6.1. ZBrush
2.6.2. High poly: Differences Between Divide and Dynamesh
2.6.3. Sculpting Form: Alternation Between Low Poly and High Poly

2.7. Detail Application in ZBrush: Pores, Capillaries, etc.

2.7.1. Alphas and Different Brushes
2.7.2. Detail: Dam-Standard Brush
2.7.3. Projections and Surfaces in ZBrush

2.8. Advanced Eye Creation in Maya

2.8.1. Creation of the Spheres: Sclera, Cornea and Iris
2.8.2. Lattice Tool
2.8.3. Displacement Map from ZBrush

2.9. Use of Deformers in Maya

2.9.1. Maya Deformers
2.9.2. Topology Movement: Polish
2.9.3. Polishing of the Final Mesh

2.10. Creation of Final UVs and Application of Displacement Mapping

2.10.1. Character Uv's and Importance of Sizes
2.10.2. Texturing
2.10.3. Displacement Map

Module 3. UVs and Texturing with Algorithmic Substance Painter and Mari

3.1. Creation of High-Level UVs in Maya 

3.1.1. Facial UVs 
3.1.2. Creation and Layout 
3.1.3. Advanced UVs 

3.2. Preparation of UVs for UDIMs Systems Focused on Large Production Models 

3.2.1. UDIMs 
3.2.2. UDIMs in Maya 
3.2.3. Textures in 4K 

3.3. XYZ Textures: What Are They and How to Use Them? 

3.3.1. XYZ. Hyperrealism 
3.3.2. Multichannel Maps 
3.3.3. Texture Maps 

3.4. Texturing: Videogames and Cinema 

3.4.1. Substance Painter 
3.4.2. Mari 
3.4.3. Types of Texturing 

3.5. Texturing in Substance Painter for Videogames 

3.5.1. Baking from High to Low Poly 
3.5.2. PBR Textures and Their Importance 
3.5.3. ZBrush with Substance Painter 

3.6. Finalizing our Substance Painter Textures 

3.6.1. Scattering, Translucency 
3.6.2. Model Texturing 
3.6.3. Scars, Freckles, Tattoos, Paints or Makeup 

3.7. Hyper-Realistic Facial Texturing with XYZ Textures and Color Mapping 

3.7.1. XYZ Textures in ZBrush 
3.7.2. Wrap 
3.7.3. Correction of Errors 

3.8. Hyper-Realistic Facial Texturing with XYZ Textures and Color Mapping 

3.8.1. Mari's Interface 
3.8.2. Texturing in Mari 
3.8.3. Projection of Skin Textures 

3.9. Advanced Detailing of Displacements Maps in ZBrush and Mari 

3.9.1. Texture Painting 
3.9.2. Displacement for Hyperrealism 
3.9.3. Layer Creation 

3.10. Shading and Texture Implementation in Maya 

3.10.1. Skin Shaders in Arnold 
3.10.2. Hyperrealistic Eye 
3.10.3. Touch-ups and Tips

Module 4. Rendering, Lighting and Posing of Models

4.1. Characters Posing in ZBrush

4.1.1. Rig in ZBrush with ZSpheres
4.1.2. Transpose Master
4.1.3. Professional Finish

4.2. Rigging and Weighting of our Own Skeleton in Maya

4.2.1. Rig in Maya
4.2.2. Rigging Tools with Advanced Skeleton
4.2.3. Rig Weighting

4.3. Blend Shapes to Give Life to Your Character's Face

4.3.1. Facial Expressions
4.3.2. Blend Shapes of Maya
4.3.3. Animation with Maya

4.4.  Mixamo, a Quick Way to Present Our Model

4.4.1. Mixamo
4.4.2. Mixamo Rigs
4.4.3. Animations

4.5. Lighting Concepts

4.5.1. Lighting Techniques
4.5.2. Light and Color
4.5.3. Shade

4.6. Arnold Render Lights and Parameters

4.6.1. Lights with Arnold and Maya
4.6.2. Lighting Control and Parameters
4.6.3. Arnold Parameters and Configuration

4.7. Lighting of our Models in Maya with Arnold Render

4.7.1. Lighting Set Up
4.7.2. Model Lighting
4.7.3. Mixing Light and Color

4.8. Going Deeper in Arnold: Denoising and the Different AOVs

4.8.1. AOVs
4.8.2. Advanced Noise Treatment
4.8.3. Denoiser

4.9. Real-Time Rendering in Marmoset Toolbag

4.9.1. Real-Time vs. Ray Tracing
4.9.2. Advanced Marmoset Toolbag
4.9.3. Professional Presentation

4.10. Post-Production Rendering in Photoshop

4.10.1. Image Processing
4.10.2. Photoshop: Levels and Contrasts
4.10.3. Layers: Characteristics and their Effects

Module 5. Hair Creation for Video Games and Movies

5.1. Differences Between Videogame Hair and Film Hair

5.1.1. FiberMesh and Cards
5.1.2. Tools for Hair Creation
5.1.3. Hair Software

5.2. ZBrush Hair Sculpting

5.2.1. Basic Shapes for Hairstyles
5.2.2. Creating Brushes in ZBrush for Hair
5.2.3. Curve Brushes

5.3. Hair Creation in Xgen

5.3.1. XGen
5.3.2. Collections and Descriptions
5.3.3. Hair vs. Grooming

5.4. Xgen Modifiers: Adding Realism to Hair

5.4.1. Clumping
5.4.2. Coil
5.4.3. Hair guides

5.5. Color and Region Maps: for Absolute Hair Control

5.5.1. Maps of Hair Regions
5.5.2. Cuts: Curly, Shaved and Long Hair
5.5.3. Micro Detail: Facial Hair

5.6. Advanced XGen: Use of Expressions and Refinement

5.6.1. Expressions
5.6.2. Utilities
5.6.3. Hair Refinement

5.7. Cards Placement in Maya for Videogame Modeling

5.7.1. Fibers in Cards
5.7.2. Cards by Hand
5.7.3. Cards and Real-Time Engine

5.8. Optimization for Movies

5.8.1. Optimization of the Hair and its Geometry
5.8.2. Preparation for Physics with Movements
5.8.3. XGen Brushes

5.9. Hair Shading

5.9.1. Arnold Shader 
5.9.2. Hyper-Realistic Look
5.9.3. Hair Treatment

5.10. Render

5.10.1. Rendering When Using XGen
5.10.2. Lighting
5.10.3. Noise Elimination

Module 6. Clothing Simulation

6.1. Importing your Model to Marvelous Designer and Program Interface

6.1.1. Marvelous Designer
6.1.2. Software Functionality
6.1.3. Real-Time Simulations

6.2. Creation of Simple Patterns and Clothing Accessories

6.2.1. Creations: T-shirts, Accessories, Hats and Pockets
6.2.2. Fabric
6.2.3. Patterns, Zippers and Seams

6.3. Advanced Clothing Creation: Complex Patterns

6.3.1. Pattern Complexity
6.3.2. Physical Qualities of Fabrics
6.3.3. Complex Accessories

6.4. Clothing Simulation at Marvelous

6.4.1. Animated Models at Marvelous
6.4.2. Fabric Optimization
6.4.3. Model Preparation

6.5. Export of Clothing from Marvelous Designer to ZBrush

6.5.1. Low Poly in Maya
6.5.2. UVs in Maya
6.5.3. ZBrush, Use of Reconstruct Subdiv

6.6. Refinement of Clothing

6.6.1. Workflow
6.6.2. Details in ZBrush
6.6.3. Clothing Brushes in ZBrush

6.7. Improve the Simulation with ZBrush

6.7.1. From Tris to Quads
6.7.2. UVs Maintenance
6.7.3. Final Carving

6.8. High Detail Clothing Texturing in Mari

6.8.1. Tileable Textures and Fabric Materials
6.8.2. Baking
6.8.3. Texturing in Mari

6.9. Maya Fabric Shading

6.9.1. Shading
6.9.2. Textures Created in Mari
6.9.3. Realism with Arnold Shaders

6.10. Render

6.10.1. Clothing Rendering
6.10.2. Illumination in Clothing
6.10.3. Texture Intensity

Module 7. Stylized Characters

7.1. Choice of a Stylized Character and Blocking of Base Forms

7.1.1. References and Concept Arts
7.1.2. Base Forms
7.1.3. Deformities and Fantastic Shapes

7.2. Conversion of our Low Poly into High Poly Model: Head, Hair and Face Sculpting

7.2.1. Head Blocking
7.2.2. New Hair Creation Techniques
7.2.3. Improvements

7.3. Model Refinement: Hands and Feet

7.3.1. Advanced Sculpting
7.3.2. Refinement of General Shapes
7.3.3. Shape Cleaning and Smoothing

7.4. Creation of Jaw and Teeth

7.4.1. Creation of Human Teeth
7.4.2. Increase its Polygons
7.4.3. Fine Detailing of Teeth in Zbrush

7.5. Modeling Clothing and Accessories

7.5.1. Types of Cartoon Clothing
7.5.2. Zmodeler
7.5.3. Applied Maya Modeling

7.6. Retopology and Clean Topology Creation from Scratch

7.6.1. Retopology
7.6.2. Loops According to the Model
7.6.3. Optimization of the Mesh

7.7. UV Mapping and Baking

7.7.1. UV’s
7.7.2. Substance Painter: Baking
7.7.3. Polishing Baking

7.8. Texturing and Painting In Substance Painter

7.8.1. Substance Painter: Texturing
7.8.2. Hand Painted Cartoon Techniques
7.8.3. Fill Layers with Generators and Masks

7.9. Lighting and Rendering

7.9.1. Lighting of Our Character
7.9.2. Color Theory and Presentation
7.9.3. Substance Painter: Render

7.10. Posing and Final Presentation

7.10.1. Diorama
7.10.2. Posing Techniques
7.10.3. Presentation of Models

Module 8. Creature Modeling

8.1. Understanding Animal Anatomy

8.1.1. Study of the Bones
8.1.2. Proportions of an Animal Head
8.1.3. Anatomic Differences

8.2. Anatomy of the Skull

8.2.1. Animal Face
8.2.2. Muscles of the Head
8.2.3. Skin Layer, Over Bones and Muscles

8.3. Anatomy of the Spine and Thoracic Cage

8.3.1. Animal Torso and Hip Musculature
8.3.2. Central Axis of its Body
8.3.3. Creation of Torsos in Different Animals

8.4. Animal Musculature

8.4.1. Muscle
8.4.2. Synergy Between Muscles and Bones
8.4.3. Shapes of an Animal Body

8.5. Reptiles and Amphibians

8.5.1. Reptilian Skin
8.5.2. Small Bones and Ligaments
8.5.3. Fine Detail

8.6. Mammals

8.6.1. Fur
8.6.2. Larger, Stronger Bones and Ligaments
8.6.3. Fine Detail

8.7. Animals with Feathers

8.7.1. Plumage
8.7.2. Elastic and Light Bones and Ligaments
8.7.3. Fine Detail

8.8. Analysis of the Jaw and Creation of Teeth

8.8.1. Animal Specific Teeth
8.8.2. Detailing of Teeth
8.8.3. Teeth in the Jaw Cavity

8.9. Creation of Fur, Fur for Animals

8.9.1. Xgen in Maya: Grooming
8.9.2. Xgen: Feathers
8.9.3. Render

8.10. Fantastic Animals

8.10.1. Fantastic Animal
8.10.2. Complete Modeling of the Animal
8.10.3. Texturing, Lighting and Rendering

Module 9. Blender: A New Twist in the Industry

9.1. Blender vs. ZBrush

9.1.1. Advantages and Differences
9.1.2. Blender and the 3D Art Industry
9.1.3. Advantages and Disadvantages of Freeware

9.2. Blender Interface and Program Knowledge

9.2.1. Interface
9.2.2. Customization
9.2.3. Experimentation

9.3. Head Sculpting and Transpolation of Controls from ZBrush to Blender

9.3.1. The Human Face
9.3.2. 3D Sculpting
9.3.3. Blender Brushes

9.4. Full Body Sculpting

9.4.1. The Human Body
9.4.2. Advanced Techniques
9.4.3. Detail and Refinement

9.5. Retopology and UVs in Blender

9.5.1. Retopology
9.5.2. UVs
9.5.3. Blender UDIMs

9.6. From Maya to Blender

9.6.1. Hard Surface
9.6.2. Modifiers
9.6.3. Keyboard Shortcuts

9.7. Blender Tips & Tricks

9.7.1. Range of Possibilities
9.7.2. Geometry Nodes
9.7.3. Workflow

9.8. Nodes in Blender: Shading and Texture Placement

9.8.1. Nodal System
9.8.2. Shaders Through Nodes
9.8.3. Textures and Materials

9.9. Rendering in Blender with Cycles and Eevee

9.9.1. Cycles
9.9.2. Eevee
9.9.3. Lighting

9.10. Implementation of Blender in our Workflow as Artists

9.10.1. Implementation in the Workflow
9.10.2. Search for Quality
9.10.3. Types of Exports

Module 10. Creation of Organic Environments in Unreal Engine

10.1. Unreal Engine Configuration and Project Organization

10.1.1. Interface and Configuration
10.1.2. Folder Organization
10.1.3. Search for Ideas and References

10.2. Blocking an Environment in Unreal Engine

10.2.1. Primary, Secondary and Tertiary PST Elements
10.2.2. Scene Design
10.2.3. Storytelling

10.3. Terrain Modeling: Unreal Engine and Maya

10.3.1. Unreal Terrain
10.3.2. Terrain Sculpting
10.3.3. Heightmaps: Maya

10.4. Modeling Techniques

10.4.1. Rock Sculpting
10.4.2. Rock Brushes
10.4.3. Cliffs and Optimization

10.5. Creation of Vegetation

10.5.1. Speedtree Software
10.5.2. Low Poly Vegetation
10.5.3. Unreal’s Foliage System

10.6. Texturing in Substance Painter and Mari

10.6.1. Stylized Terrain
10.6.2. Hyper-realistic Texturing
10.6.3. Tips and Guidelines

10.7. Photogrammetry

10.7.1. Megascan Library
10.7.2. Agisoft Metashape Software
10.7.3. Model Optimization

10.8. Shading and Materials in Unreal Engine

10.8.1. Blending of Textures
10.8.2. Material Settings
10.8.3. Final Touches

10.9. Lighting and Post-production of our Environment in Unreal Engine

10.9.1. Scene Look
10.9.2. Types of Lights and Atmospheres
10.9.3. Particles and Fog

10.10. Cinematic Rendering

10.10.1. Camera Techniques
10.10.2. Video and Screen Capture
10.10.3. Presentation and Final Finishing