Thanks to this 100% online university qualification, you will design three-dimensional characters adapted to different narratives, visual styles, and technical requirements”

3D Character Design and Creation has experienced exponential growth in recent years, becoming a fundamental tool within the digital animation industry. For example, advances in rigging and rendering now allow digital characters to be reproduced in hyper-realistic detail, even replacing real actors in cases where they cannot continue filming. In this context, creatives must gain a comprehensive understanding of the technical processes involved in simulating expressions, movements, and highly precise anatomical details to achieve flawless, high-quality results.

In this scenario, TECH introduces a comprehensive program in Design and Creation of 3D Characters for Animation and Video Games. Designed by leaders in the field, the academic itinerary will delve into the fundamentals of body rigging as the structural foundation of the character. In line with this, the curriculum will explore specialized tools, such as the sticky lips system, crucial for achieving greater naturalness in facial expressions. Additionally, the educational materials will offer professionals multiple resources to implement automation that streamlines production processes. As a result, graduates will develop advanced skills to design highly functional and expressive characters. This will enhance their professional profiles in an increasingly competitive sector.

Moreover, the university qualification is based on a comfortable 100% online format that allows creatives to plan their schedules individually. In fact, all they will need is an electronic device with internet access to access the Virtual Campus. Furthermore, TECH uses its disruptive Relearning system, which ensures professionals naturally and progressively update their knowledge. It is worth noting that a renowned International Guest Director will conduct 10 comprehensive Masterclasses.

A prestigious International Guest Director will deliver 10 exclusive Masterclasses on the latest trends in Design and Creation of 3D Characters for Animation and Video Games”

This Professional master’s degree in 3D Character Design and Creation for Animation and Video Games contains the most complete and up-to-date program on the market. The most important features include:

• The development of practical case studies presented by experts in Video Games
• The graphic, schematic, and practical contents with which they are created, provide scientific and 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

Using virtual reality glasses is like peeking into the window of the future of video games. Enroll in this Professional master’s degree and take the leap to the other side” 

It includes faculty members from the video game industry, who bring their real-world experience to this program, as well as renowned specialists from leading organizations 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 an immersive learning experience designed to prepare for real-life situations.

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

You will apply advanced techniques in texturing, shading, and lighting to enhance the appearance and realism of the characters” 

You will digitally model characters using professional tools such as ZBrush, Blender, or Maya” 

This program will provide experts with the most innovative tools to develop high-quality characters. The syllabus will delve into the key fundamentals of creating a joint chain, an essential process for establishing a functional skeletal structure in characters. The program will also cover clothing rigging, crucial for simulating how clothing interacts realistically with the body. As a result, graduates will acquire advanced skills to create dynamic and realistic 3D characters.

You will master both the artistic and technical fundamentals of 3D character design, applying anatomy, proportions, expressiveness, and visual style”

Module 1. The Rigger, the Rig, the Industry, and Essential Tools

1.1. The Role of the Rigger in the Industry

1.1.1. What does a Rigger do?
1.1.2. Production and Workflow
1.1.3. Differences between Rigging for Film and Video Games

1.2. The Software

1.2.1. Autodesk Maya
1.2.2. Installing Maya
1.2.3. Interface and Navigation
1.2.4. Display Layers and Naming Conventions

1.3. Studying the 3D Model

1.3.1. Topology
1.3.2. Poses
1.3.3. Elements, Hair, and Clothing
1.3.4. Poor Topology

1.4. Phases and Parts of the Rig

1.4.1. Deformation and Control Rigging
1.4.2. Body and Facial Rigging
1.4.3. Automation and Final Processes

1.5. Main Elements of Rigging

1.5.1. Joints (Bones)
1.5.2. Curves (Controls)
1.5.3. Clusters

1.6. Constraint Elements

1.6.1. What are Constraints?
1.6.2. Types of Constraints
1.6.3. Using Constraints in Rigging

1.7. Position and Transformations of an Object

1.7.1. Relative and Absolute Position
1.7.2. Direct Connections
1.7.3. Basic Nodes

1.8. Deformers

1.8.1. Blend Shapes
1.8.2. Lattice
1.8.3. Wire
1.8.4. Others (Non-linear)

1.9. NURBS Curves

1.9.1. What are NURBS Curves?
1.9.2. Predefined NURBS Curves
1.9.3. Editing NURBS Curves

1.10. Job Search in the Industry

1.10.1. Online Resources
1.10.2. The Job Market for the Rigger
1.10.3. The Reel, Portfolio Platforms, and Employment

Module 2. Body Deformation Rigging

2.1. Preliminary Basics

2.1.1. Topology Review
2.1.2. System Setup
2.1.3. Model Preparation

2.2. Creating a Joint Chain

2.2.1. Skeleton Anatomy
2.2.2. Joint Nomenclature
2.2.3. Joint Editing Tools
2.2.4. Joint Placement and Hierarchy

2.3. Joint Orientation

2.3.1. The Importance of Correct Orientation
2.3.2. Joint Orientation Tool
2.3.3. Joint Symmetry

2.4. Skinning

2.4.1. Binding Skeleton to Geometry
2.4.2. Influence Painting Tools
2.4.3. Influence Symmetry on the Model

2.5. Painting Absolute Influences

2.5.1. Setting Up the Influence Painting Process
2.5.2. Phases of Vertex Painting
2.5.3. Influences on Body Parts Between 2 Joints
2.5.4. Influences on Body Parts Between 3 or More Joints

2.6. Deformation of the Lower Body

2.6.1. Anatomy of Joint Movement
2.6.2. Animations for Influence Smoothing
2.6.3. Smoothing Process

2.7. Deformation of the Upper Body

2.7.1. Anatomy of Joint Movement
2.7.2. Animations for Influence Smoothing
2.7.3. Smoothing Process

2.8. Quadrupeds

2.8.1. Animal Anatomy
2.8.2. Creating the Joint Chain
2.8.3. Deformation Process

2.9. Birds

2.9.1. Animal Anatomy
2.9.2. Creating the Joint Chain
2.9.3. Deformation Process

2.10. Final Skinning Processes

2.10.1. Final Touch-Up of the Deformation Process
2.10.2. Volume Preservation
2.10.3. Error Correction with Deformers and PSDs
2.10.4. Baking Deformations in Skin Cluster
2.10.5. Exporting and Importing Influence Weighting
2.10.6. Protecting Rigging through References
2.10.7. NgSkinTools

Module 3. Advanced Limbs Rigging

3.1. Introduction to FK and IK Systems

3.1.1. Differences Between FK and IK Systems
3.1.2. Limitations of FK and IK Systems
3.1.3. Hybrid FK/IK System

3.2. Building FK and IK Systems

3.2.1. Building the FK System
3.2.2. IK Handle Solvers
3.2.3. Elbow or Knee Control

3.3. Channel Box and Node Editor

3.3.1. Channels
3.3.2. Attribute Editing
3.3.3. Set Driven Key
3.3.4. Node Editor

3.4. FK/IK Switch

3.4.1. Using Set Driven Keys
3.4.2. Using Nodes
3.4.3. Controller and Attributes

3.5. Twist, Squash, and Stretch

3.5.1. Upper Arm Twist
3.5.2. Lower Arm Twist
3.5.3. Stretch
3.5.4. Squash

3.6. Completing the Limb

3.6.1. Clavicle
3.6.2. Hands
3.6.3. Elbow and Knee

3.7. Reverse Foot/Hand Systems

3.7.1. Reverse Foot
3.7.2. Channels and Controllers
3.7.3. Reverse Hand

3.8. Finalizing the FK/IK System

3.8.1. Setting Up FK and IK Control Visibility
3.8.2. Hierarchies and Nomenclature
3.8.3. Duplicating the System

3.9. Quadruped Limbs

3.9.1. Understanding the Functionality of the Limb
3.9.2. Evaluating the Best System
3.9.3. Building the System

3.10. Wing Rigging

3.10.1. Understanding the Functionality of a Wing
3.10.2. Building the System
3.10.3. Wing Folding

Module 4. Advanced Rigging of Torso, Neck, and Head

4.1. Introduction to Advanced Torso Rigging

4.1.1. Limitations of a Basic Rig
4.1.2. Improvement Proposals
4.1.3. Setting Up the Advanced System

4.2. Spline IK Handle Tool

4.2.1. Functionality of the Tool
4.2.2. Tool Configurations
4.2.3. Twist

4.3. Creating IK Controls for the Torso

4.3.1. Manipulating the Curve
4.3.2. Twist Control
4.3.3. Nomenclature and Hierarchy

4.4. Squash and Stretch for the Torso

4.4.1. Respecting the Position of Joints on the Curve
4.4.2. Finding the Scale Factor
4.4.3. Basic System Connections

4.5. Advanced Squash and Stretch for the Torso

4.5.1. remapValue Node
4.5.2. Basic remapValue Connections
4.5.3. Advanced remapValue Connections

4.6. Creating FK Controls for the Torso

4.6.1. Creating Curves
4.6.2. Integration with the IK System
4.6.3. Nomenclature and Hierarchy

4.7. Inner FK System

4.7.1. Creating Controls
4.7.2. Modifying Constraints
4.7.3. Second Joint Chain

4.8. System Completion

4.8.1. Hierarchy Organization
4.8.2. Nomenclature
4.8.3. Review and Scaling

4.9. Creating the Neck and Head System

4.9.1. Bone Placement
4.9.2. Smooth FK System for the Neck
4.9.3. Follow Attribute for Neck and Head

4.10. Conclusion and Other Examples

4.10.1. Creating Rig by Modules and Joining Them
4.10.2. Other Applications for the Smooth FK System
4.10.3. Other Applications for the Torso System

Module 5. Cartoon Rig, Proxies, Props, and Clothing

5.1. Introduction to the Bend System

5.1.1. What is a Bend System?
5.1.2. System Setup
5.1.3. Wire Deformer

5.2. Developing the Bend System

5.2.1. Creating Curves and Clusters
5.2.2. Painting Influences for the Bend System
5.2.3. Implementing the General Control

5.3. 2D Facial Rig on 3D Models in Maya

5.3.1. System Setup
5.3.2. Connecting Frames with Texture Layer
5.3.3. 2D Animation Control

5.4. Proxies

5.4.1. What are Proxies?
5.4.2. Model Partitioning
5.4.3. Connecting Proxies to Joint Chains

5.5. Clothing Rigging

5.5.1. Setup
5.5.2. Geometry Preparation
5.5.3. Influence Projection

5.6. Props Rigging

5.6.1. What are Props?
5.6.2. Setup
5.6.3. System Development

5.7. Hair Rigging

5.7.1. Introduction to Hair Systems
5.7.2. System for Geometric Hair
5.7.3. System for Hair Generated by xGen

5.8. Arch Rigging

5.8.1. Studying Arch Deformation
5.8.2. Setup
5.8.3. Development

5.9. Vehicle Rigging

5.9.1. Studying Mechanics
5.9.2. Wheels
5.9.3. Other Elements

5.10. Tank Rigging

5.10.1. Studying Mechanics
5.10.2. Wheels
5.10.3. Other Elements

Module 6. Advanced Facial Rigging

6.1. Introduction to Facial Rigging

6.1.1. Study of Facial Expressions
6.1.2. Facial Topology
6.1.3. Deformation Methods

6.2. Facial Rigging with Blend Shapes

6.2.1. Facial Partitioning of Key Shapes
6.2.2. Modeling Muscle Movements
6.2.3. Distribution of Blend Shape Deformations

6.3. Rigging of Nose, Jaw, and Tongue

6.3.1. Anatomical Study and Setup, Node Editor
6.3.2. Deformation and Control of Nose and Jaw
6.3.3. Deformation and Control of Tongue

6.4. Lip Rigging

6.4.1. System Setup
6.4.2. Blend Shapes, Joints
6.4.3. Correction Shapes and Controls

6.5. Sticky Lips System (Lip Sealing)

6.5.1. What It Is and What It’s Used For
6.5.2. System Setup
6.5.3. Development

6.6. Rigging of Eyes, Eyelids, Eyebrows, and Ears

6.6.1. IK, FK System for Eyes
6.6.2. Deformation by Curves and Correction Shapes for Eyebrows
6.6.3. Eyelid System

6.7. Rigging of Cheeks

6.7.1. Deformation by Curves and Blend Shapes
6.7.2. Creating Joints and Controls
6.7.3. Squash and Stretch

6.8. Facial Control Rigging

6.8.1.  Joystick Control Setup
6.8.2. Controls for the Face
6.8.3. Set Driven Key Tool

6.9. Connecting Facial Rig to Body Rig

6.9.1. Analyzing Our Rig System, Cleaning, and Testing
6.9.2. Deformer Hierarchy
6.9.3. Hierarchy and Prevention of Double Transformations

6.10. Automations

6.10.1. Benefits and Examples of Facial Automations, Motion Capture (MocapX App)
6.10.2. Setup
6.10.3. Development

Module 7. Rigging for Video Games

7.1. Rigging for Video Games in Unity

7.1.1. Differences Between Film and Video Game Rigging
7.1.2. Download and Installation
7.1.3. Unity Interface and Navigation

7.2. Unity Tools for Rigging

7.2.1. Types of Unity Rigs
7.2.2. Avatar Tool
7.2.3. Retargeting

7.3. Facial Rigging for Video Games

7.3.1. Issues and Solution Approach
7.3.2. System Creation
7.3.3. Painting Influences

7.4. Adapting Film Rig to Video Games

7.4.1. Exploring Rig and Limitations
7.4.2. Creating Skeleton for Unity Humanoid
7.4.3. Connecting Video Game Skeleton to Film Skeleton with Python

7.5. Skinning for Video Games

7.5.1. Limitations of Skin Cluster Deformer for Unity
7.5.2. Influence Weighting
7.5.3. Handling Facial Controllers

7.6. Finalizing Rig for Video Games

7.6.1. Character Clothing Rig
7.6.2. Root Motion and Character Weapons
7.6.3. Twist Joints

7.7. Human IK

7.7.1. Introduction to Human IK Tool
7.7.2. Creating Character Definition
7.7.3. Eyes, Auxiliary Joints, and Rig Control

7.8. Mixamo

7.8.1. Free Rigging and Animation Tool - Mixamo
7.8.2. Character and Animation Library
7.8.3. Creating a Rig with Mixamo

7.9. Importing and Exporting Rigs and Animations

7.9.1. Exporting
7.9.2. Importing
7.9.3. Baking Animations

7.10. Importing Rig into Unity

7.10.1. Rig Import Configuration in Unity
7.10.2. Humanoid Configuration
7.10.3. Rig Physics Configuration

Module 8. Muscle Systems with Ziva

8.1. What is Ziva and Where Has It Been Used

8.1.1. Requirements, Setup, and Interface
8.1.2. Workflow in Ziva

8.2. Starting from the Basics

8.2.1. How Ziva Works zSolver: What It Is and Its Most Common Attributes
8.2.3. zCache: Explain How It Works and How to Use It

8.3. First Steps I

8.3.1. zTissues and zBones
8.3.2. Attachment Mode: Fixed – Sliding
8.3.3. Build First Example with Basic Geometries

8.4. First Steps II

8.4.1. zMaterial and zMaterial Layer
8.4.2. zCloth
8.4.3. A Bit of Anatomy

8.5. The Fascia

8.5.1. A Bit of Anatomy
8.5.2. Basic Example of Building Fascia in Ziva
8.5.3. Building Fascia with Basic Geometry Model

8.6. Arm with Anatomical Geometry

8.6.1. Quality Check
8.6.2. Build the Fascia
8.6.3. Build the Muscles

8.7. Detail Setup

8.7.1. Sliding Attachments
8.7.2. LOAs – Fibers – Corrective BS
8.7.3. Simulation of Fascia and Fat

8.8. Complex Systems (Human Body)

8.8.1. System Setup
8.8.2. Creation of Basic Elements
8.8.3. Detail Setup

8.9. Scene Merge

8.9.1. Introduction to Merge
8.9.2. Factors to Consider and Precautions
8.9.3. Applying and Setting Up the Merge

8.10. Other Ziva Tools

8.10.1. Harmonic Warp
8.10.2. Bone Warp
8.10.3. ZivaRig

Module 9. MAYA Programming Focused on Rigging

9.1. Maya Setup for Scripting

9.1.1. Commands
9.1.2. Modules
9.1.3. Packages
9.1.4. Python Path

9.2. Scripting Tools

9.2.1. Script Editor
9.2.2. Autodesk Help
9.2.3. MEL Interpretation
9.2.4. PyCharm

9.3. Python Fundamentals for Rigging 1

9.3.1. Print and Comments
9.3.2. Data Types and Variables
9.3.3. Lists and Tuples
9.3.4. Dictionaries
9.3.5. Operators
9.3.6. Getting and Modifying Attributes

9.4. Python Fundamentals for Rigging 2

9.4.1. Conditions
9.4.2. Loops
9.4.3. Functions
9.4.4. Global Variables

9.5. Object-Oriented Programming (OOP)

9.5.1. OOP vs. Non-OOP
9.5.2. Classes
9.5.3. Attributes and Methods
9.5.4. Inheritance

9.6. Shelf and User Interfaces (UI)

9.6.1. Custom Shelf
9.6.2. Import Shelf
9.6.3. Window
9.6.4. Buttons
9.6.5. Other Elements

9.7. Introductory Tools

9.7.1. Tool Library for Controllers
9.7.2. FK Chain Tool
9.7.3. Controller Modifier Tool

9.8. Autorig Limb FK/IK

9.8.1. FK System
9.8.2. IK System
9.8.3. Window Design
9.8.4. General Control / Settings

9.9. Tool Match Limb FK/IK

9.9.1. Match FK to IK
9.9.2. Match IK to FK
9.9.3. Window Design

9.10. Create Picker with Qt

9.10.1. Qt Designer
9.10.2. Design a Picker
9.10.3. Connect Buttons

Module 10. Rigging with Blender

10.1. The Software

10.1.1. What is Blender?
10.1.2. Installation
10.1.3. Interface and Navigation
10.1.4. Panels and Modes

10.2. Basic Concepts

10.2.1. Selection and Transformations
10.2.2. 3D Cursor and Pivot Points
10.2.3. Hierarchies and Collections

10.3. Modifiers and Constraints

10.3.1. Curve
10.3.2. Lattice
10.3.3. Object Constraint

10.4. Bones

10.4.1. Creating Bones
10.4.2. Bone Orientation
10.4.3. Symmetrize
10.4.4. Bone Constraint

10.5. Skinning in Blender

10.5.1. Binding Mesh to Skeleton
10.5.2. Painting Influences
10.5.3. Mirroring Influences

10.6. Inverse Kinematics with Blender

10.6.1. Creating IK System
10.6.2. Bone Transformation Constraints
10.6.3. Pole Target Controls

10.7. Body Rig with Rigify I

10.7.1. Addon
10.7.2. Basic Human Meta-Rig
10.7.3. Editing Skeleton

10.8. Body Rig with Rigify II

10.8.1. Editing Influences
10.8.2. Rigify Buttons
10.8.3. Control Parameters

10.9. Facial Rigging

10.9.1. Jaw Control
10.9.2. Eyes
10.9.3. Facial Expressions with Shape Keys

10.10. Hard-Surface Rigging with Blender

10.10.1. Gear Rigging
10.10.2. Vehicle Rigging
10.10.3. Rigging Cables and Ropes

You will develop skills in organic modeling and digital sculpting to create detailed 3D Characters”