If you want to understand the intrinsic keys to Digital Sculpture, this fully online training will take you on a tour of the fundamentals”

Digital design is a discipline that extends and has the capacity to influence other multiple areas such as industrial production, three-dimensional design and printing, animation or video game development, etc. Digital Sculpture is part of each of these areas, allowing the recreation of large spaces, infrastructures, objects and characters for virtual or physical use. The popularization of this area has also produced the need for specialized experts and professionals.

This Professional master’s degree in Digital Sculpture delves into issues such as the improvement and painting of meshes, the creation of three-dimensional machines according to their motility, character rigging, human and animal anatomy, software such as Blender, Arnold, Photoshop or ZBrush, and modeling with light, among many others.

It emphasizes the notions of topology at all levels of development and production of a model, as well as human and animal anatomy, in order to apply it later to modeling, texturing, lighting and rendering processes accurately. It also seeks to meet the demand for the creation of hair and clothing for video games, animation or 3D printing. Handling of modeling systems and knowledge of current industry systems.

Thanks to a totally online format, the deepening of knowledge in Digital Sculpture is combined with other personal and professional projects. The virtual platform, where teachers will post all the multimedia material and pedagogical resources so that students can progress at their own speed and pace, can be accessed at any time. All this will be taught with Relearning methodology, which promotes autonomous and practical learning for the student.

Learn independently all the keys in the process of creating Digital Sculpture and apply it to the design field you need”

This Professional master’s degree in Digital Sculpture contains the most complete and up-to-date scientific program on the market. The most important features include:

• The development of case studies presented by experts in 3D Modeling and Digital Sculpture
• The graphic, schematic, and eminently 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
• Access to content from any fixed or portable device with an Internet connection 

Accept new professional challenges, become skilled in Digital Sculpting and use it in any field of application be it 3D printing, design or production”

The program’s teaching staff includes professionals from 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.

With this online degree you will be able to highlight your CV and make it more attractive than others in the same sector, give a twist to your career”

A Professional master’s degree in Digital Sculpture, fully online and guided by a faculty made up of experts of the highest prestige in the field”

TECH degrees are always perfectly organized to provide the necessary content in 10 sections. In this way, the educational program covers, first, the creation of textures and finishing professions of the creations. It then delves into the creation of machinery, humanoids, hair, clothing and accessories, animals and miniatures. It also delves into blender, luminosity and the creation of terrains and organic landscapes, ending with the applications of modeling to 3D printing, VR, AR and photogrammetry.

A complete educational program to develop the best skills as a digital sculptor”

Module 1. Creation of Hard Surfaces and Rigid Surfaces

1.1. Sculpting Techniques and Applications

1.1.1. Edit Poly
1.1.2. Splines
1.1.3. Organic Modeling

1.2. Edit Poly Modeling

1.2.1. Loopsand Extrusions
1.2.2. Containment Geometry for Smoothing
1.2.3. Modifiers and Ribbon

1.3. Mesh Optimizations

1.3.1. Quads, Tris and Ngons. When to Use Them?
1.3.2. Booleans
1.3.3. Low Poly vs. High Poly

1.4. Splines

1.4.1. Spline Modifiers
1.4.2. Working Plots and Vectors
1.4.3. Splines as Scene Assistants

1.5. Organic Sculpture

1.5.1. ZBrush Interface
1.5.2. Zbrush Modeling Techniques
1.5.3. Alphas and Brushes

1.6. Model Sheet

1.6.1. Reference Systems
1.6.2. Configuration of Modeling Templates
1.6.3. Measurements

1.7. Modeling for Infoarchitecture

1.7.1. Facade Modeling
1.7.2. Follow-up of Plans
1.7.3. Interior Modeling

1.8. Scenography

1.8.1. Creation of Props
1.8.2. Furniture
1.8.3. Detailing in  ZBrush Organic Modeling

1.9. Masks

1.9.1. Masking for Modeling and Painting
1.9.2. Geometry Masks and Modeling IDs
1.9.3. Mesh Occultations, Polygroups and Cuttings

1.10. 3D Design and Lettering

1.10.1. Use of Shadow Box
1.10.2. Model Topology
1.10.3. ZRemesher Automatic Retopology

Module 2. Texturing for Digital Sculpture

2.1. Texturing

2.1.1. Texture Modifiers
2.1.2. Compact Systems
2.1.3. Slate Node Hierarchy

2.2. Materials

2.2.1. ID
2.2.2. Photorealistic PBR
2.2.3. No Photorealistic Cartoon

2.3. PBR Textures

2.3.1. Procedural Textures
2.3.2. Color, Albedo and DiffuseMaps
2.3.3. Opacity and Specular

2.4. Mesh Improvements

2.4.1. Map of Normal
2.4.2. Displacement Map
2.4.3. Vector Maps

2.5. Texture Managers

2.5.1. Photoshop
2.5.2. Materialize and Online Systems
2.5.3. Texture Scanning

2.6. UVW and Banking

2.6.1. Hard SurfaceTextureBaking 
2.6.2. Baking  Organic Textures
2.6.3. Banking Unions

2.7. Exports and Imports

2.7.1. Texture Formats
2.7.2. FBX, OBJ and STL
2.7.3. Subdivision vs. Dynamesh

2.8. Mesh Painting

2.8.1. Viewport Canvas
2.8.2. Polypaint
2.8.3. Spotlight

2.9. Substance Painter

2.9.1. Zbrush with Substance Painter
2.9.2.  Low Poly with High Poly Texture Maps
2.9.3. Material Treatments

2.10. Advanced Substance Painter 

2.10.1. Realistic Effects
2.10.2. Improve the Baked
2.10.3. SSS Materials, Human Skin

Module 3. Machine Creation

3.1. Robots

3.1.1. Functionality
3.1.2. Character
3.1.3. Motor Skills in its Structure

3.2. Robot Despiece

3.2.1. IMM and Chisel Brushes
3.2.2. Insert Mesh and Nanomesh
3.2.3. Zmodeler in ZBrush

3.3. Cyborg

3.3.1. Sectioned by Masks
3.3.2. Trim Adaptive and Dynamic
3.3.3. Mechanization

3.4. Ships and Aircraft

3.4.1. Aerodynamics and Smoothing
3.4.2. Surface Texture
3.4.3. Cleaning of Polygonal Mesh and Details

3.5. Land Vehicles

3.5.1. Vehicle Topology
3.5.2. Modeling for Animation
3.5.3. Caterpillars

3.6. Passage of Time

3.6.1. Credible Models
3.6.2. Materials Over Time
3.6.3. Oxidations

3.7. Accidents

3.7.1. Crashes
3.7.2. Object Fragmentations
3.7.3. Destruction Brushes

3.8. Adaptations and Evolution

3.8.1. Biomimicry
3.8.2. Sci-fi Dystopia, Uchronias and Utopias
3.8.3. Cartoon

3.9. Realistic Render Hardsurface 

3.9.1. Studio Scene
3.9.2. Lights
3.9.3. Physical Camera

3.10. NPR Render Hardsurface

3.10.1. Wireframe
3.10.2. Cartoon Shader
3.10.3. Illustration

Module 4. Humanoid

4.1. Human Anatomy for Modeling

4.1.1. Canon of Proportions
4.1.2. Evolution and Functionality
4.1.3. Superficial Muscles and Mobility

4.2. Lower Body Topology

4.2.1. Torso
4.2.2. Legs
4.2.3. Feet

4.3. Upper Body Topology

4.3.1. Arms and Hands
4.3.2. Neck
4.3.3. Head and Face and Inside Mouth

4.4. Characterized and Stylized Characters

4.4.1. Details with Organic Modeling
4.4.2. Anatomy Characterization
4.4.3. Styling

4.5. Expressions

4.5.1. Facial Animations and Layer
4.5.2. Morpher
4.5.3. Texture Animation

4.6. Pose

4.6.1. Character Psychology and Relaxation
4.6.2. Rig with Zspheres
4.6.3. Posed with Motion Capture

4.7. Characterizations

4.7.1. Tattoos
4.7.2. Scars
4.7.3. Wrinkles, Freckles and Marks

4.8. Manual Retopology

4.8.1. In 3DS Max
4.8.2. Blender
4.8.3. Zbrush and Projections

4.9. Predefined

4.9.1. Fuse
4.9.2. Vroid
4.9.3. MetaHuman

4.10. Crowds and Repetitive Spaces

4.10.1. Scatter
4.10.2. Proxies
4.10.3. Object Groups

Module 5. Hair, Clothes and Accessories

5.1. Creating Hair

5.1.1. Modeled Hair
5.1.2.  Low PolyHair and Cards
5.1.3.  High Poly Hair, Fibermesh Hair and Fur and Xgen

5.2. Cartoon Clothes

5.2.1. Mesh Extractions
5.2.2. False Geometry
5.2.3. Shell

5.3. Sculpting Fabrics

5.3.1. Physical Simulations
5.3.2. Strength Calculations
5.3.3. Curving Brushes on Clothing

5.4. Realistic Clothes

5.4.1. Importing to Marvelous Designer
5.4.2. Software Philosophy
5.4.3. Pattern Creation

5.5. Standard Patterns

5.5.1. T-shirts
5.5.2. Trousers
5.5.3. Coats and Footwear

5.6. Unions and Physics

5.6.1. Realistic Simulations
5.6.2. Zips
5.6.3. Seams

5.7. Clothes

5.7.1. Complex Patterns
5.7.2. Fabric Complexity
5.7.3. Shading

5.8. Advanced Clothes

5.8.1. Baked from Clothes
5.8.2. Adaptation
5.8.3. Exporting

5.9. Accessories

5.9.1. Jewellery
5.9.2. Backpacks and Bags
5.9.3. Tools

5.10. Rendering on Fabrics and Hair

5.10.1. Illumination and Shading
5.10.2. Hair Shader
5.10.3. Realistic Rendering in Arnold

Module 6. Animals and Creatures

6.1. Animal Anatomy for Modelers

6.1.1. Proportion Research
6.1.2. Anatomic Differences
6.1.3. Musculature of the Different Families

6.2. Main Masses

6.2.1. Main Structures
6.2.2. Balance Axis Postures
6.2.3. Base Mesh with Zspheres

6.3. Head

6.3.1. Craniums
6.3.2. Jaws
6.3.3. Teeth and Antlers
6.3.4. Rib Cage, Spine and Hips

6.4. Central Zone

6.4.1. Rib Cage
6.4.2. Spinal Column
6.4.3. Hips

6.5. Extremities

6.5.1. Legs and Hooves
6.5.2. Fins
6.5.3. Wings and Claws

6.6. Animal Texture and Adaptation to Shapes

6.6.1. Skin and Hair
6.6.2. Scales
6.6.3. Feathers

6.7. The Animal Imaginary: Anatomy and Geometry

6.7.1. Anatomy of Fantastic Beings
6.7.2. Geometry and SliceCuts
6.7.3. Mesh Booleans

6.8. The Animal Imaginary: Fantastic Animals

6.8.1. Fantastic Animals
6.8.2. Hybridizations
6.8.3. Mechanical Beings

6.9. NPR Species

6.9.1. Cartoon Style
6.9.2. Anime
6.9.3. Fan Art

6.10. Animal and Human Rendering

6.10.1. Sub Surface Scattering Materials
6.10.2. Mixing Texturing Techniques
6.10.3. Final Compositions

Module 7. Blender

7.1. Free Software

7.1.1. LTS Version and Community
7.1.2. Pros and Differences
7.1.3. Interface and Philosophy

7.2. 2D Integration

7.2.1. Program Adaptation
7.2.2. Crease Pencil
7.2.3. Combination 2D in 3D

7.3. Modeling Techniques

7.3.1. Program Adaptation
7.3.2. Modeling Methodologies
7.3.3. Geometry Nodes

7.4. Texturing Techniques

7.4.1. Nodes Shading
7.4.2. Textures and Materials
7.4.3. Usage Tips

7.5. Lighting

7.5.1. Tips for Light Spaces
7.5.2. Cycles
7.5.3. Eevee

7.6. Workflow in CGI

7.6.1. Necessary Uses
7.6.2. Exports and Imports
7.6.3. Final Art

7.7. Sds Max Adaptations to Blender

7.7.1. Modeling
7.7.2. Texturing and Shading
7.7.3. Lighting

7.8. Knowledge of ZBrush to Blender

7.8.1. 3D Sculpting
7.8.2. Brushes and Advanced Techniques
7.8.3. Organic Work

7.9. From Blender to Maya

7.9.1. Important Stages
7.9.2. Adjustments and Integrations
7.9.3. Exploitation of Functionalities

7.10. From Blender to Cinema 4D

7.10.1. Tips for 3D Design
7.10.2. Use of Modeling Towards Video Mapping
7.10.3. Modeling with Particles and Effects

Module 8. Light Modeling

8.1. Offline Arnold Motors

8.1.1. Interior and Exterior Lighting
8.1.2. Application of Displacement and Normal Maps
8.1.3. Render Modifiers

8.2. Vray

8.2.1. Lighting Bases
8.2.2. Shading
8.2.3. Maps

8.3. Advanced Global Illumination Techniques

8.3.1. ActiveShade GPU Management
8.3.2. Optimization of Photorealistic Rendering Denoiser
8.3.3. Non-photorealistic Rendering (Cartoon and Hand Painted)

8.4. Quick Display of Models

8.4.1. ZBrush
8.4.2. Keyshot
8.4.3. Marmoset

8.5. Rendering Postproduction

8.5.1. Multipass
8.5.2. 3D Illustration in ZBrush
8.5.3. Multipass in Zbrush

8.6. Integration in Real Spaces

8.6.1. Shadow Materials
8.6.2. HDRI and Global Illumination
8.6.3. Image Tracing

8.7. Unity

8.7.1. Interface and Organization
8.7.2. Import to Game Engines
8.7.3. Materials

8.8. Unreal

8.8.1. Interface and Organization
8.8.2. Sculpture in Unreal
8.8.3. Shaders

8.9. Modeling in Video Game Engines

8.9.1. Probuilder
8.9.2. Modeling Tools
8.9.3. Prefabs and Memory Storages

8.10. Advanced Lighting Techniques in Videogames

8.10.1. Realtime, Pre-calculation of Lights and HDRP
8.10.2. Raytracing
8.10.3. Postprocessing

Module 9. Creation of Organic Soils and Environments

9.1. Organic Modeling in Nature

9.1.1. Brush Adaptation
9.1.2. Creation of Rocks and Cliffs
9.1.3. Integration with Substance Painter 3D

9.2. Terrain

9.2.1. Terrain Displacement Maps
9.2.2. Creation of Rocks and Cliffs
9.2.3. Scanning Libraries

9.3. Vegetation

9.3.1. SpeedTree
9.3.2. Low Poly Vegetation
9.3.3. Fractals

9.4. Unity Terrain

9.4.1. Organic Terrain Modeling
9.4.2. Ground Painting
9.4.3. Creation of Vegetation

9.5. Unreal Terrain

9.5.1. Heightmap
9.5.2. Texturing
9.5.3. Unreal’s Foliage System

9.6. Physics and Realism

9.6.1. Physical
9.6.2. Wind
9.6.3. Fluids

9.7. Virtual Walks

9.7.1. Virtual Cameras
9.7.2. Third Person
9.7.3. First Person FPS

9.8. Cinematography

9.8.1. Cinemachine
9.8.2. Sequencer
9.8.3. Recording and Executables

9.9. Visualization of Modeling in Virtual Reality

9.9.1. Modeling and Texturing Tips
9.9.2. Exploitation of Interaxial Space
9.9.3. Project Preparation

9.10. VR Scene Creation

9.10.1. Location of Cameras
9.10.2. Land and Infoarchitecture
9.10.3. Platforms of Use

Module 10. Applications of Modeling to 3D Printing, VR, AR and Photogrammetry

10.1. Preparation for 3D Printing

10.1.1. Types of Printing
10.1.2. Polygon Reduction
10.1.3. Mesh Projections

10.2. Ready for 3D Printing

10.2.1. Emptying
10.2.2. Inserts
10.2.3. Advice and Imports

10.3. Photogrammetry

10.3.1. Megascan Library
10.3.2. Agisoft Metashape Software
10.3.3. Model Preparation

10.4. Preparing the Photogrammetry

10.4.1. Obtaining Points
10.4.2. Retopology
10.4.3. Model Optimization

10.5. Working in Virtual Reality

10.5.1. Software Quill
10.5.2. Interface
10.5.3. Brushes and Clone Tool
10.5.4. VR Character Creation

10.6. Character and Scenario with Quill

10.6.1. VR Character Creation
10.6.2. Immersive Scenario
10.6.3. Character Development

10.7. Scene Preparation in Quill

10.7.1. Character Painting in VR
10.7.2. Pose
10.7.3. Spawn Area Adjusting Cameras

10.8. From Quill to Arnold and Unreal

10.8.1. Exporting and Format
10.8.2. Rendering in Arnold
10.8.3. Unreal Integration

10.9. Augmented Reality Unity and Vuforia

10.9.1. Import to Unity
10.9.2. Vuforia
10.9.3. Lighting and Materials

10.10. Augmented Reality: Scene Preparation

10.10.1. Preparing the Scene
10.10.2. Visualization on Real Environment
10.10.3. Creation of Multiple Displays in AR

Enroll, don't lose your ambition. Learn how to create and give the best finishes in Digital Sculpture with this Professional master’s degree”