A comprehensive and 100% online program, exclusive to TECH, with an international perspective supported by our membership with The Design Society"

Technological evolution has fostered new forms of artistic expression, with Virtual Reality standing out as one of the most innovative platforms for the development of digital art.  In fact, a study conducted by the International Monetary Fund highlights that this technology has a global market value of more than 15 billion dollars, with projections indicating continued growth. This underscores the importance for Design professionals to acquire specialized skills in the use of Virtual Reality techniques to optimize artistic creation processes.

Within this framework, TECH has launched a groundbreaking program in Art for Virtual Reality.  Designed by leading experts in the field, the academic pathway provides in-depth training in the use of cutting-edge software such as Unity, Blender, 3DS Max, and ZBrush. In the same vein, the syllabus explores the specific functionalities of graphics engines and their optimal application in immersive environments through scene configuration and lighting.  The teaching materials will also provide the keys to developing a complete Sci-Fi environment, covering everything from modular planning and initial blockout to light baking. In this way, graduates will acquire the skills to design immersive virtual spaces with a high level of detail, aesthetic coherence, and functionality.

It is worth noting that this program is delivered entirely online, offering students a flexible modality that removes geographic and scheduling barriers.  Learners will only need a device with an internet connection to access the Virtual Campus.

Thanks to TECH's membership with The Design Society (DS), students will become part of a global community dedicated to design and its study. They will have access to open-access publications and be able to participate in collaborative events. Additionally, the membership supports the maintenance of the society and its platforms, facilitating interaction and access to specialized resources for professional development in design.

You will understand the technical and aesthetic foundations necessary to develop high-quality, immersive, and functional digital experiences”

This Master's Degree in Art for Virtual Reality contains the most complete and up-to-date university program on the market. Its most notable features are:

• The development of case studies presented by experts in Art for Virtual Reality
• 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

You will implement complete digital production workflows in Virtual Reality, from concept to final visualization across a variety of devices”

The teaching faculty includes professionals in the field of Art for Virtual Reality, who bring their professional expertise to this program, along with 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 delve into the latest trends in business management, being able to design effective strategies to make decisions in complex and unstable contexts"

You will apply procedural textures and materials with Substance Painter, ensuring efficient use of resources"

The teaching materials of this program have been designed by experts in Virtual Reality applied to Design.  As a result, the syllabus delves into the use of advanced tools such as Unity, Blender, and Substance Painter. In addition, the program provides in-depth training in modeling, texturing, rigging, lighting, and baking techniques oriented toward immersive environments.  Thanks to this approach, graduates will be able to manage all phases of a visual project, from modular planning and initial blockout to the implementation of Sci-Fi environments.

You will master the conceptual and technical foundations of Art applied to high-impact Virtual Reality experiences”

Module 1.  The Project and the Unity Game Engine

1.1. Design

1.1.1. Pureref
1.1.2. Scaling
1.1.3. Differences and Limitations

1.2. Project Planning

1.2.1. Modular Planning
1.2.2. Blockout
1.2.3. Assembly

1.3. Visualization in Unity

1.3.1. Setting up Unity for Oculus
1.3.2. The Oculus App
1.3.3. Collision and Camera Adjustments

1.4. Visualization in Unity: Scene

1.4.1. Scene Configuration for VR
1.4.2. Export of APKs
1.4.3. Installing APKs on Oculus Quest 2

1.5. Materials in Unity

1.5.1. Standard
1.5.2. Unlit: Features of This Material and When to Use It
1.5.3. Optimization

1.6. Textures in Unity

1.6.1. Importing Textures
1.6.2. Transparency
1.6.3. Sprite

1.7. Lighting

1.7.1. VR Lighting
1.7.2. The Lighting Menu in Unity
1.7.3. VR Skybox

1.8. Lighting: Lightmapping

1.8.1. Lightmapping Settings
1.8.2. Types of Lights
1.8.3. Emissive

1.9. Lighting 3: Baking

1.9.1. Baking
1.9.2. Ambient Occlusion
1.9.3. Optimization

1.10. Organizing and Exporting

1.10.1. Folders
1.10.2. Prefab
1.10.3. Exporting and Importing Unity Packages

Module 2. Blender

2.1. Interface

2.1.1. Software Blender
2.1.2. Controls and Shortcuts
2.1.3. Scenes and Customization

2.2. Modeling

2.2.1. Tools
2.2.2. Mesh
2.2.3. Curves and Surfaces

2.3. Modifiers

2.3.1. Modifiers
2.3.2. How Are They Used
2.3.3. Types of Modifiers

2.4. Hard Surface Modeling

2.4.1. Prop Modeling
2.4.2. Evolving Prop Modeling
2.4.3. Final Prop Modeling

2.5. Materials

2.5.1. Assignment and Components
2.5.2. Creating Materials
2.5.3. Creating Procedural Materials

2.6. Animation and Rigging

2.6.1. Keyframes
2.6.2. Armatures
2.6.3. Constraints

2.7. Simulation

2.7.1. Fluids
2.7.2. Hair and Particles
2.7.3. Clothes

2.8. Rendering

2.8.1. Cycles and Eevee
2.8.2. Lights
2.8.3. Cameras

2.9. Grease Pencil

2.9.1. Structure and Primitives
2.9.2. Properties and Modifiers
2.9.3. Examples

2.10. Geometry Nodes

2.10.1. Attributes
2.10.2. Types of Nodes
2.10.3. Practical Example

Module 3. 3DS Max

3.1. Interface Set-up

3.1.1. Project Start
3.1.2. Automatic and Incremental Saving
3.1.3. Units of Measurement

3.2. The Create Menu

3.2.1. Objects
3.2.2. Lights
3.2.3. Cylindrical and Spherical Objects

3.3. The Modify Menu

3.3.1. The Menu
3.3.2. Button Configuration
3.3.3. Uses

3.4. Edit Poly: Polygons

3.4.1. Edit Poly Mode
3.4.2. Edit Polygons
3.4.3. Edit Geometry

3.5. Edit Poly: Selection

3.5.1. Selection
3.5.2. Soft Selection
3.5.3. IDs and Smoothing Groups

3.6. The Hierarchy Menu

3.6.1. Pivot Conditions
3.6.2. Reset XFom and Freeze Transform
3.6.3. Adjusting the Pivot Menu

3.7. Material Editor

3.7.1. Compact Material Editor
3.7.2. Slate Material Editor
3.7.3. Multi/Sub-Object

3.8. Modifier List

3.8.1. Modeling Modifiers
3.8.2. Modeling Modifier Evolution
3.8.3. Modeling Modifier Final Assessment

3.9. XView and Non-Quads

3.9.1. XView
3.9.2. Checking for Errors in Geometry
3.9.3. Non-Quads

3.10. Exporting to Unity

3.10.1. Triangulating the Asset
3.10.2. DirectX or OpenGL for Normals
3.10.3. Conclusions

Module 4. ZBrush

4.1. Zbrush

4.1.1. Polymesh
4.1.2. Subtools
4.1.3. Gizmo 3D

4.2. Creating Meshes

4.2.1. Quick Mesh and Primitives
4.2.2. Mesh Extract
4.2.3. Booleans

4.3. Sculpting

4.3.1. Symmetry
4.3.2. Main Brushes
4.3.3. Dynamesh

4.4. Masks

4.4.1. Brushes and the Mask Menu
4.4.2. Brush Masks
4.4.3. Polygroups

4.5. Sculpting Organic Prop K

4.5.1. Sculpting Low Poly
4.5.2. Low Poly Sculpting Evolution
4.5.3. Low Poly Sculpting Final Assessment

4.6. IMM Brushes

4.6.1. Controls
4.6.2. Insert MultiMesh
4.6.3. Creating IMM Brushes

4.7. Curve Brushes

4.7.1. Controls
4.7.2. Creating Curve Brushes
4.7.3. IMM Curve Brushes

4.8. High Poly

4.8.1. Subdivisions and Dynamic Subdivisions
4.8.2. HD-geometry
4.8.3. Projecting Noise

4.9. Other Types of Mesh

4.9.1. MicroMesh
4.9.2. NanoMesh
4.9.3. ArrayMesh

4.10. High Poly Organic PropSculpting

4.10.1. Prop Sculpting
4.10.2. Prop Sculpting Evolution
4.10.3. Prop Sculpting Final Assessment

Module 5. Retopology

5.1. Retopology in ZBrush-ZRemesher

5.1.1. ZRemesher
5.1.2. Guidelines
5.1.3. Examples

5.2. Retopology in ZBrush-Decimation Master

5.2.1. Decimation Master
5.2.2. Combining It with Brushes
5.2.3. Workflow

5.3. Retopology in ZBrush-ZModeler

5.3.1. Zmodeler
5.3.2. Modes
5.3.3. Correcting Meshes

5.4. Prop Retopology

5.4.1. Hard Surface Prop Retopology
5.4.2. Organic Prop Retopology
5.4.3. Hand Retopology

5.5. TopoGun

5.5.1. Advantages of TopoGun
5.5.2. The Interface
5.5.3. Importing

5.6. Tools: Edit

5.6.1. Simple Edit Tool
5.6.2. Simple Create Tool
5.6.3. Draw Tool

5.7. Tools: Bridge

5.7.1. Bridge Tool
5.7.2. Brush Tool
5.7.3. Extrude Tool

5.8. Tools: Tubes

5.8.1. Tubes Tool
5.8.2. Symmetry Set-Up
5.8.3. Feature Subdivision and Map Baking

5.9. Head Retopology

5.9.1. Facial Loops
5.9.2. Mesh Optimization
5.9.3. Exporting

5.10. Full Body Retopology

5.10.1. Body Loops
5.10.2. Mesh Optimization
5.10.3. VR Requirements

Module 6. UVs

6.1. Advanced UVS

6.1.1. Warnings
6.1.2. Cuts
6.1.3. Texture Density

6.2. Creating UVS in ZBrush-UVMaster

6.2.1. Controls
6.2.2. Unwrap
6.2.3. Unusual Topology

6.3.  UVMaster: Painting

6.3.1. Painting Control
6.3.2. Creating Seams
6.3.3. Checkseams

6.4. UVMaster: Packing

6.4.1. UV Packing
6.4.2. Creating Islands
6.4.3. Flatten

6.5. UVMaster: Clones

6.5.1. Working With Clones
6.5.2. Polygroups
6.5.3. Control Painting

6.6. Rizom UV

6.6.1. Rizom Script
6.6.2. The Interface
6.6.3. Importing With or Without UVS

6.7. Seams and Cuts

6.7.1. Keyboard Shortcuts
6.7.2. 3D Panel
6.7.3. UV Panel

6.8. UV Unwrap and Layout Panel

6.8.1. Unfold
6.8.2. Optimize
6.8.3. Layout and Packing

6.9. UV: More Tools

6.9.1. Align, Straighten, Flip, and Fit
6.9.2. TopoCopy and Stack1
6.9.3. Edge Loop Parameters

6.10. Advanced UV Rizom

6.10.1. Auto Seams
6.10.2. UVs Channels
6.10.3. Texel Density

Module 7. Baking

7.1. Model Baking

7.1.1. Preparing the Model for Baking
7.1.2. Baking Principles
7.1.3. Processing Options

7.2. Model Baking: Painter

7.2.1. Baking in Painter
7.2.2. Low Poly Baking
7.2.3. High Poly Baking

7.3. Model Baking: Boxes

7.3.1. Using Boxes
7.3.2. Adjusting Distances
7.3.3. Computing Tangent Space per Fragment

7.4. Map Baking

7.4.1. Normal
7.4.2. ID
7.4.3. Ambient Occlusion

7.5. Map Baking: Curvatures

7.5.1. Curvature
7.5.2. Thickness
7.5.3. Improving Map Quality

7.6. Baking in Marmoset

7.6.1. Marmoset
7.6.2. Functions
7.6.3. Real-Time Baking

7.7. Setting Up the Document for Baking in Marmoset

7.7.1. High Poly and Low Poly in 3DSMax
7.7.2. Organizing the Scene in Marmoset
7.7.3. Verifying That Everything Is Correct

7.8. Bake Project Panel

7.8.1. Bake Group, High and Low
7.8.2. The Geometry Menu
7.8.3. Load

7.9. Advanced Options

7.9.1. Output
7.9.2. Adjusting the Cage
7.9.3. Setting Up Maps

7.10. Baking

7.10.1. Maps
7.10.2. Result Preview
7.10.3. Baking Floating Geometry

Module 8. Substance Painter

8.1. Project Creation

8.1.1. Map Import
8.1.2. UVs
8.1.3. Baking

8.2. Layers

8.2.1. Layer Types
8.2.2. Layer Options
8.2.3. Materials

8.3. Painting

8.3.1. Brush Types
8.3.2. Fill Projections
8.3.3. Advance Dynamic Painting

8.4. Effects

8.4.1. Fill
8.4.2. Levels
9.4.3. Anchor Points

8.5. Masks

8.5.1. Alphas
8.5.2. Procedurals and Grunges
8.5.3. Hard Surfaces

8.6. Generators

8.6.1. Generators
8.6.2. Uses
8.6.3. Examples

8.7. Filters

8.7.1. Filters
8.7.2. Uses
8.7.3. Examples

8.8. Hard Surface Prop Texturing

8.8.1. Prop Texturing
8.8.2. Evolving Prop Texturing
8.8.3. Final Prop Texturing

8.9. Organic Prop Texturing 

8.9.1. Prop Texturing
8.9.2. Evolving Prop Texturing
8.9.3. Final Prop Texturing

8.10. Render

8.10.1. IRay
8.10.2. Post-Processing
8.10.3. Col Use

Module 9. Marmoset

9.1. The Alternative

9.1.1. Import
9.1.2. Interface
9.1.3. Viewport

9.2. Classic

9.2.1. Scene
9.2.2. Tool Settings
9.2.3. History

9.3. Inside the Scene

9.3.1. Render
9.3.2. Main Camera
9.3.3. Sky

9.4. Lights

9.4.1. Types
9.4.2. Shadow Catcher
9.4.3. Fog

9.5. Texture

9.5.1. Texture Project
9.5.2. Map Import
9.5.3. Viewport

9.6. Layers: Paint

9.6.1. Paint Layer
9.6.2. Fill Layer
9.6.3. Group

9.7. Layers: Adjustments

9.7.1. Adjustment Layer
9.7.2. Input Processor Layer
9.7.3. Procedural Layer

9.8. Layers: Mask

9.8.1. Mask
9.8.2. Channels
9.8.3. Maps

9.9. Materials

9.9.1. Types of Material
9.9.2. Settings
9.9.3. Applying Them to the Scene

9.10. Dossier

9.10.1. Marmoset Viewer
9.10.2. Exporting Render Images
9.10.3. Exporting Videos

Module 10. Sci-Fi Environment

10.1. Sci-Fi Concept and Planning

10.1.1. References
10.1.2. Planning
10.1.3. Blockout

10.2. Implementation in Unity

10.2.1. Importing Blockout and Verifying Scaling
10.2.2. Skybox
10.2.3. Files and Preliminary Materials

10.3. Module 1: Floors

10.3.1. High-to-Low Modular Modeling
10.3.2. UVs and Baking
10.3.3. Texturing

10.4. Module 2: Walls

10.4.1. High-to-Low Modular Modeling
10.4.2. UVs and Baking
10.4.3. Texturing

10.5. Module 3: Roofs

10.5.1. High-to-Low Modular Modeling
10.5.2. Retopology, UVs, and Baking
10.5.3. Texturing

10.6. Module 4: Extras (Pipes, Railings, Etc.)

10.6.1. High-to-Low Modular Modeling
10.6.2. UVs and Baking
10.6.3. Texturing

10.7. Hero Asset 1: Mechanical Doors

10.7.1. High-to-Low Modular Modeling
10.7.2. Retopology, UVs, and Baking
10.7.3. Texturing

10.8. Hero Asset 2: Hibernation Chamber

10.8.1. High-to-Low Modular Modeling
10.8.2. Retopology, UVs, and Baking
10.8.3. Texturing

10.9. In Unity

10.9.1. Importing Textures
10.9.2. Application of Materials
10.9.3. Scene Lighting

10.10. End of Project

10.10.1. VR Visualization
10.10.2. Prefab and Export
10.10.3. Conclusions

The interactive summaries of each module will allow you to consolidate concepts on texture optimization in Unity in a more dynamic way"