You will work for the best production companies in the market thanks to your expertise and skills in 3D modeling" 

The public is increasingly demanding with the quality of the movies, series and video games it consumes, because given the high supply of audiovisual content on the market, only those productions with high quality and a differentiating value proposition will be the ones that end up succeeding and staying in the retina of the viewers. 

Part of the responsibility for this success often lies with the 3D modeling departments, as blockbusters more frequently use cutting-edge technologies to incorporate real or fantasy elements into their scenes. For this reason, the design professional must have an expert handling of the most innovative tools on the market, in order to have the best possible value proposition to companies that only seek the highest quality. 

As a result, TECH Global University has prepared this Master's Degree in Organic 3D Modeling, in which the student will learn to perfect the use of the most demanded tools in the market: Maya, Zbrush, Blender and Unreal Engine. With a sophisticated and advanced methodology, the students will have at their disposal all the knowledge and skills necessary to succeed in creating 3D models for the main companies in the audiovisual or videogame industry. 

Additionally, TECH makes it easier for its students to take this degree by offering it in a completely online format, without predetermined classes or fixed timetables. This implies that it is the students who set their own learning pace, being able to make the training compatible with their work, personal or professional responsibilities. 

Enroll today in the Master's Degree in Organic 3D Modeling and don't wait any longer to succeed in modeling characters admired by the whole world” 

This Master's Degree in Organic 3D Modeling contains the most complete and up-to-date program on the market. The most important features include:

• 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 self-assessment can be used 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

You will be closer to the successful 3D designer position you dream of after completing this training" 

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 throughout the program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts. 

Define the future of the 3D modeling industry with characters, environments and creatures that inspire thousands of designers worldwide"

This is the opportunity you were looking for to take a leap of great personal and professional quality in the world of 3D design"

This Master's Degree in Organic 3D Modeling has been designed following the most cutting-edge and current educational standards, so the student is getting a high-quality education to make the most of. Thanks to the program's strong audiovisual support, coupled with activities based on real and authentic cases from the 3D industry, the students get a contextual educational experience with which to improve their own personal performance even before the end of the degree. 

Obtain the Master's Degree in Organic 3D Modeling directly, without the need to do a final work that consumes your study time" 

Module 1. Anatomy

1.1. General Skeletal Masses, 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 of 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. Los pies

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. Form of Sculpting: Alternation Between Low Poly and High Poly

2.7. Application of Details 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 UVs and Importance of Sizes
2.10.2. Texturing
2.10.3. Displacement Map

Module 3. UVs and Texturing with Allegorithmic 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 UDIM’s Systems Focused on Large Production Models 

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

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 Movies 

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. Texturing of Models 
3.6.3. Scars, Freckles, Tattoos, Paints or Makeup 

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

3.7.1. XYZ Textures in ZBrush
3.7.2. Wrap
3.7.3. Error Correction

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

3.8.1. Mari 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. Creation of Layers 

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 AOV’s

4.8.1. AOV´s
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: or 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

This is the best time to enroll in Organic 3D Modeling and focus your career in a booming sector where you can find bigger and better job offers"