Broaden your professional horizons and perfect your handling of Blender, 3ds Max, Zbrush and other key tools in your career as a digital artist"

The digital entertainment industry has experienced exponential growth in recent years, especially in the creation of video games. This phenomenon has generated a great demand for professionals specialized in Digital Art for Video Games, able to design characters, environments, objects and scenarios that meet the demands of the industry and provide an unforgettable gaming experience to the user.

In this context, TECH has developed this Advanced master’s degree in Digital Art for Video Games, with the aim of comprehensively training professionals for this constantly evolving industry. Students enrolled in this program will have the opportunity to acquire a wide range of skills and knowledge in the field of digital art, and will be trained to work in high-level video game development studios.

During the program, students will delve into key areas such as professional drawing, volume, aesthetics, color, character and scenario design, and anatomy. They will also study industry programs and tools, such as Photoshop, Clip Studio Paint and Procreate, mastering all their intricacies. They will also have the opportunity to develop teamwork skills, project analysis and visual narrative, with the aim of being prepared to make a significant leap in the labor market.

A relevant aspect of the program is its 100% online format, which allows students to access content from anywhere and at any time. This will provide them with greater flexibility and freedom to adjust the teaching to their schedules and personal needs, without having to sacrifice any of their own responsibilities.

Boost your creativity and develop your own artistic style, giving a noticeable boost to your portfolio, with this TECH Advanced master’s degree"

This Advanced master’s degree in Digital Art for Video Games 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 artistic design for 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 self-assessment can be used to improve learning
• Special emphasis on innovative methodologies in Creation and Models for Video Games
• 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

Explore the creative potential of the most striking virtual worlds, analyzing art in 2D, 3D and Virtual Reality"

It includes in its teaching staff professionals belonging to the field of video games, who pour into this program the experience of their work, in addition to recognized specialists of reference 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 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.

Master professional drawing techniques, volume, aesthetics, color and anatomy for video game design with this Advanced master’s degree"

Enroll now and discover the fundamentals of clothing and scenery design, integrating the different roles of the artist in a transversal work group"

The syllabus of this program has been designed with the academic needs of journalism professionals in the field of audiovisual business management in mind. A very complete syllabus that covers fundamental issues of business administration, but also the most relevant aspects of the audiovisual industry. Undoubtedly, a highly valuable Advanced master’s degree for those who wish to specialize in this field and make a qualitative leap in their career.

Discover an innovative content adapted to the most demanding artistic demands in the field of video games"

Module 1. Professional Drawing

1.1. Materials

1.1.1. Traditional
1.1.2. Digital
1.1.3. Environment

1.2. Ergonomics and Heating

1.2.1. Warm-Ups
1.2.2. Rest
1.2.3. Health

1.3. Geometric Shapes

1.3.1. Line
1.3.2. Ellipses
1.3.3. 3D Shapes

1.4. Perspectives

1.4.1. A Vanishing Point
1.4.2. Multiple Leakage Points
1.4.3. Advice

1.5. Sketch

1.5.1. Lace
1.5.2. Digital vs. Traditional
1.5.3. Clean

1.6. Line Art

1.6.1. About Sketch
1.6.2. Digital
1.6.3. Advice

1.7. Shading in Drawing

1.7.1. Plots
1.7.2. Blurring
1.7.3. Filling

1.8. Simplify Shapes

1.8.1. Organic Shapes
1.8.2. Structures
1.8.3. Fusion of Simple Shapes

1.9. Means of Ink Filling

1.9.1. Ink
1.9.2. Ballpoint Pen
1.9.3. Digital

1.10. Line Improvement

1.10.1. Exercises
1.10.2. Line Combing
1.10.3. Practice

Module 2. Volume

2.1. 3D Shapes

2.1.1. 2D to 3D
2.1.2. Mixing Shapes
2.1.3. Study

2.2. Shadows on Planes

2.2.1. Lack of Light
2.2.2. Light Direction
2.2.3. Shadows on Different Objects

2.3. Ambient Occlusion

2.3.1. Definition
2.3.2. Light Difficulty
2.3.3. Contact

2.4. Shadows in Anatomy

2.4.1. Face
2.4.2. Human Body Plans
2.4.3. Lighting

2.5. Narrative Shading

2.5.1. Example
2.5.2. When to Use
2.5.3. Exaggeration

2.6. Comic Shading

2.6.1. Styles
2.6.2. Plots
2.6.3. Authors

2.7. Sleeve Shading

2.7.1. Styles
2.7.2. Authors
2.7.3. Implementation

2.8. Plots

2.8.1. Traditional
2.8.2. Digital
2.8.3. Wefts Made

2.9. Volume and Perspective

2.9.1. Without Shading
2.9.2. Shapes
2.9.3. Implementation

2.10. Volume by Color

2.10.1. Depth
2.10.2. Shape
2.10.3. Brushstroke

Module 3. Esthetics

3.1. Styles

3.1.1. Seniority
3.1.2. Modern
3.1.3. Video Games

3.2. Modern Styles and Canon

3.2.1. 8 Heads
3.2.2. Disney
3.2.3. Video Games

3.3. American Style

3.3.1. Comics
3.3.2. Illustration
3.3.3. Animation

3.4. Asian Style

3.4.1. Manga
3.4.2. Anime
3.4.3. Traditional

3.5. European Style

3.5.1. History
3.5.2. Comic
3.5.3. Illustration

3.6. Aesthetics by Gender

3.6.1. Infantile/Juvenile
3.6.2. Fantasy
3.6.3. Other

3.7. Canons

3.7.1. History
3.7.2. Canons
3.7.3. Flexibility

3.8. Styling

3.8.1. The Human Being
3.8.2. Adaptation
3.8.3. Shapes

3.9. Visual Storytelling

3.9.1. Meaning
3.9.2. Intention
3.9.3. Environment

3.10. Own Style

3.10.1. Analysis
3.10.2. Practice
3.10.3. Advice

Module 4. Color

4.1. Light Propagation

4.1.1. Technicality
4.1.2. Example
4.1.3. Light Color

4.2. Light on Surfaces

4.2.1. Reflexes
4.2.2. Bounces
4.2.3. Subsurface Scattering

4.3. Design and Color

4.3.1. Exaggeration
4.3.2. Imagination
4.3.3. Use

4.4. Light in Shadows

4.4.1. Reflexes
4.4.2. Color in the Shadows
4.4.3. Tricks

4.5. HUE/Matrix

4.5.1. Definition
4.5.2. Importance
4.5.3. Use

4.6. Saturation

4.6.1. Definition
4.6.2. Importance
4.6.3. Use

4.7. Value

4.7.1. Definition
4.7.2. Contrast in Art Work
4.7.3. Use

4.8. Color in Illustration

4.8.1. Differences
4.8.2. Freedom
4.8.3. Theory

4.9. Color in Concept Art

4.9.1. Importance
4.9.2. Design and Color
4.9.3. Prop Scenario Character

4.10. Color in Art

4.10.1. History
4.10.2. Changes
4.10.3. Reference:

Module 5. Programs in the Industry

5.1. Photoshop

5.1.1. In the industry
5.1.2. Basics
5.1.3. Recommendations

5.2. Clip Studio Paint

5.2.1. Differences
5.2.2. What Makes It Unique?
5.2.3. For Whom?

5.3. Procreate

5.3.1. iPad
5.3.2. In the industry
5.3.3. Future

5.4. Alternative Programs

5.4.1. Krita
5.4.2. Aseprite
5.4.3. Others

5.5. Photoshop Interface

5.5.1. Data Science
5.5.2. Personalization
5.5.3. Advice

5.6. Photoshop Layers

5.6.1. Layer Styles
5.6.2. Mask Layer
5.6.3. Advice

5.7. Photoshop Brushes

5.7.1. Where to Find?
5.7.2. Create your Own
5.7.3. Use

5.8. Format and Dimensions

5.8.1. JPG vs. PNG
5.8.2. Bits
5.8.3. Image Resolution

5.9. Color in Photoshop

5.9.1. One Layer
5.9.2. Multiple Layers
5.9.3. Advice

5.10. Digitized from Traditional Media

5.10.1. Scanning
5.10.2. Photoshop Editing
5.10.3. Erase Colors

Module 6. 2D in the Video Game Industry

6.1. Digital Entertainment Industry

6.1.1. Currently
6.1.2. Competition

6.2. Concept Art

6.2.1. Importance
6.2.2. Types
6.2.3. Movies/Video Games

6.3. Illustration

6.3.1. Illustration for Video Games
6.3.2. Uses
6.3.3. Recommendations

6.4. UI Artist

6.4.1. Use
6.4.2. Design
6.4.3. History

6.5. Environment Artist

6.5.1. Difference
6.5.2. Importance
6.5.3. India

6.6. Pixel Art

6.6.1. Currently
6.6.2. Advice
6.6.3. Programs

6.7. Animators

6.7.1. 3D
6.7.2. 2D in Video Games
6.7.3. Advice

6.8. Storyboarder

6.8.1. Importance
6.8.2. Large Studios
6.8.3. In Video Games

6.9. Splash Art

6.9.1. Online
6.9.2. Currently
6.9.3. Advice

6.10. Art Director

6.10.1. Importance
6.10.2. India
6.10.3. Competition

Module 7. Anatomy

7.1. Lace and Organic Shapes

7.1.1. Practice
7.1.2. Complexity
7.1.3. Routine

7.2. References

7.2.1. Live
7.2.2. Websites
7.2.3. Good References

7.3. Skeleton Simple Shapes

7.3.1. Understanding
7.3.2. About Images
7.3.3. Simplify

7.4. Complex Skeleton

7.4.1. Progress
7.4.2. Nomenclature
7.4.3. From Simple to Complex

7.5. Muscles

7.5.1. About References
7.5.2. Muscles for Utility
7.5.3. Body Types

7.6. Cranium

7.6.1. Structure
7.6.2. Loomins
7.6.3. Advice

7.7. The Human Face

7.7.1. Proportions
7.7.2. Common Errors
7.7.3. Advice

7.8. Anatomy Profile

7.8.1. Advice
7.8.2. Differences
7.8.3. Construction

7.9. Anatomy 3/4

7.9.1. What to Consider
7.9.2. Advice
7.9.3. Differences

7.10. Color of the Human Body

7.10.1. Translucency
7.10.2. Color in the Shadows
7.10.3. Tones

Module 8. Develop Drawing

8.1. Drawing from Imagination

8.1.1. Start
8.1.2. Practices
8.1.3. Advice

8.2. Search and Development of References

8.2.1. Different References
8.2.2. Pinterest
8.2.3. References to Avoid

8.3. Routines

8.3.1. Routine
8.3.2. Enjoying Your Studies
8.3.3. Breaks

8.4. Drawing of Poses

8.4.1. Pages
8.4.2. Time
8.4.3. Daily

8.5. Develop a Notebook

8.5.1. What Notebook?
8.5.2. When
8.5.3. Contents

8.6. Getting out of the Comfort Zone

8.6.1. Change
8.6.2. Abstraction

8.7. Testing Styles

8.7.1. Authors
8.7.2. Different
8.7.3. Study it

8.8. Buscar feedback

8.8.1. Friendships
8.8.2. Social media
8.8.3. Do Not Take It Personally

8.9. Participate in Communities

8.9.1. Online Communities
8.9.2. City Events

8.10. Improving the Fundamentals

8.10.1. Practices
8.10.2. Back
8.10.3. Redo

Module 9. Design in Video Games

9.1. Video Game Design

9.1.1. Design and Video Games
9.1.2. Concept

9.2. Ideation

9.2.1. References
9.2.2. Written
9.2.3. Sketches

9.3. Iteration

9.3.1. Silhouettes
9.3.2. Advice
9.3.3. Shape Design

9.4. Character Design

9.4.1. Psychology of the Character
9.4.2. Color
9.4.3. Details

9.5. Props Design

9.5.1. Shape
9.5.2. Uses
9.5.3. Importance

9.6. Scenario Design

9.6.1. Composition
9.6.2. Details
9.6.3. Depth

9.7. Clothing Design

9.7.1. Reference:
9.7.2. Inspiration
9.7.3. Originality

9.8. Color in Design

9.8.1. Meaning
9.8.2. Psychology
9.8.3. Focal Points

9.9. Utility on Site

9.9.1. Video Game Industry
9.9.2. 3D Equipment
9.9.3. Project

9.10. Artistic Show Design

9.10.1. Pitch Deck
9.10.2. Finished Work
9.10.3. Cleaning

Module 10. Art Industry for Videogames: Musts

10.1. Professional Image

10.1.1. Showcase your Work
10.1.2. Popularity
10.1.3. Communities

10.2. Portfolio

10.2.1. Pages
10.2.2. Physical
10.2.3. Advice

10.3. Submitting Jobs

10.3.1. Clean Sketches
10.3.2. Mount
10.3.3. Format

10.4. Portfolio

10.4.1. Advice
10.4.2. Language:
10.4.3. Date:

10.5. Practices

10.5.1. Relations
10.5.2. Hybrid

10.6. Social media

10.6.1. Art Station
10.6.2. LinkedIn
10.6.3. Instagram

10.7. Web

10.7.1. Platforms
10.7.2. Portfolio
10.7.3. Contact

10.8. Teamwork

10.8.1. Advice
10.8.2. Communication
10.8.3. Importance

10.9. Telecommuting

10.9.1. Timetable
10.9.2. Discipline
10.9.3. Language:

Module 11. The Project and the Unity Graphics Engine

11.1. The Design

11.1.1. Pureref
11.1.2. Scaling
11.1.3. Differences and Limitations

11.2. Project Planning

11.2.1. Modular Planning
11.2.2. Blockout
11.2.3. Assembly

11.3. Visualization in Unity

11.3.1. Setting up Unity for Oculus
11.3.2. The Oculus App
11.3.3. Collision and Camera Adjustments

11.4. Visualization in Unity: Scene

11.4.1. Setting up Scene for VR
11.4.2. Export of APKs
11.4.3. Installing APKs on Oculus Quest 2

11.5. Materials in Unity

11.5.1. Standard
11.5.2. Unlit: Features of This Material and When to Use It
11.5.3. Optimization

11.6. Textures in Unity

11.6.1. Importing Textures
11.6.2. Transparency
11.6.3. Sprite

11.7. Lighting

11.7.1. VR Lighting
11.7.2. Lighting Menu in Unity
11.7.3. VR Skybox

11.8. Lighting: Lightmapping

11.8.1. Lightmapping Settings
11.8.2. Types of Lights
11.8.3. Emissive

11.9. Lighting 3: Baking

11.9.1. Baking
11.9.2. Ambient Occlusion
11.9.3. Optimization

11.10. Organizing and Exporting

11.10.1. Folders
11.10.2. Prefab
11.10.3. Exporting and Importing Unity Packages

Module 12. Blender

12.1. Interface

12.1.1. Software Blender
12.1.2. Controls and Shortcuts
12.1.3. Scenes and Customization

12.2. Modeling

12.2.1. Data Science
12.2.2. Mesh
12.2.3. Curves and Surfaces

12.3. Modifiers

12.3.1. Modifiers
12.3.2. How Are They Used?
12.3.3. Types of Modifiers

12.4. Hard Surface Modeling

12.4.1. Prop Modeling
12.4.2. Prop Modeling’s Evolution
12.4.3. Prop Modeling’s Final Assessment

12.5. Materials

12.5.1. Assignment and Components
12.5.2. Creating Materials
12.5.3. Creating Procedural Materials

12.6. Animation and Rigging

12.6.1. Keyframes:
12.6.2. Armatures
12.6.3. Constraints

12.7. Simulation

12.7.1. Fluids
12.7.2. Hair and Particles
12.7.3. Clothing

12.8. Rendering

12.8.1. Cycles and Eevee
12.8.2. Light
12.8.3. Cameras

12.9. Grease Pencil

12.9.1. Structure and Primitives
12.9.2. Properties and Modifiers
12.9.3. Examples:

12.10. Geometry Nodes

12.10.1. Attributes
12.10.2. Types of Nodes
12.10.3. Practical Example

Module 13. 3ds MAX

13.1. Interface Set-up

13.1.1. Project Start
13.1.2. Automatic and Incremental Saving
13.1.3. Measuring Units

13.2. The Create Menu

13.2.1. Objects
13.2.2. Light
13.2.3. Cylindrical and Spherical Objects

13.3. The Modify Menu

13.3.1. The Menu
13.3.2. Button Configuration
13.3.3. Uses

13.4. Edit Poly: Polygons

13.4.1. Edit Poly Mode
13.4.2. Edit Polygons
13.4.3. Edit Geometry

13.5. Edit Poly: Selection

13.5.1. Selection
13.5.2. Soft Selection
13.5.3. IDs and Smoothing Groups

13.6. Hierarchy Menu

13.6.1. Pivot Conditions
13.6.2. Reset XFom and Freeze Transform
13.6.3. Adjusting the Pivot Menu

13.7. Material Editor

13.7.1. Compact Material Editor
13.7.2. Slate Material Editor
13.7.3. Multi/Sub-Object

13.8. Modifier List

13.8.1. Modeling Modifiers
13.8.2. Modeling Modifier Evolution
13.8.3. Modeling Modifier Final Assessment

13.9. XView and Non-Quads

13.9.1. XView
13.9.2. Checking for Errors in Geometry
13.9.3. Non-Quads

13.10. Exporting to Unity

13.10.1. Triangulating the Asset
13.10.2. DirectX u OpenGL for Normal Maps
13.10.3. Conclusions

Module 14. ZBrush

14.1. ZBrush

14.1.1. Polymesh
14.1.2. Subtools
14.1.3. Gizmo 3D

14.2. Creating Meshes

14.2.1. Quick Mesh and Primitives
14.2.2. Mesh Extract
14.2.3. Booleans

14.3. Sculpting

14.3.1. Symmetry
14.3.2. Main Brushes
14.3.3. Dynamesh

14.4. Masks

14.4.1. Brushes and the Mask Menu
14.4.2. Brush Masks
14.4.3. Polygroups

14.5. Organic Prop K’s Sculpting

14.5.1. Sculpting Low Poly
14.5.2. Low-Poly Sculpting Evolution
14.5.3. Low Poly Sculpting Final Assessment

14.6. IMM Brushes

14.6.1. Controls
14.6.2. Inserting Multi Mesh
14.6.3. Creating IMM Brushes

14.7. Curve Brushes

14.7.1. Controls
14.7.2. Creating Curve Brushes
14.7.3. IMM Curve Brushes

14.8. High Poly

14.8.1. Subdivisions and Dynamic Subdivisions
14.8.2. HD-Geometry
14.8.3. Projecting Noise

14.9. Other Types of Mesh

14.9.1. MicroMesh
14.9.2. NanoMesh
14.9.3. ArrayMesh

14.10. High Poly Organic PropSculpting

14.10.1. Prop Sculpting
14.10.2. Prop Sculpting Evolution
14.10.3. Prop Sculpting Final Assessment

Module 15. Retopology

15.1. Retopology in ZBrush-ZRemesher

15.1.1. ZRemesher
15.1.2. Guidelines
15.1.3. Examples:

15.2. Retopology in ZBrush-Decimation Master

15.2.1. Decimation Master
15.2.2. Combining It with Brushes
15.2.3. Workflow

15.3. Retopology in ZBrush-ZModeler

15.3.1. Zmodeler
15.3.2. Modes
15.3.3. Correcting Meshes

15.4. Prop Retopology

15.4.1. Hard Surface Prop Retopology
15.4.2. Organic Prop Retopology
15.4.3. Hand Retopology

15.5. Topogun

15.5.1. Advantages of Topogun
15.5.2. The Interface
15.5.3. Import

15.6. Tools: Edit

15.6.1. Simple Edit Tool
15.6.2. Simple Create Tool
15.6.3. Draw Tool

15.7. Tools: Bridge

15.7.1. Bridge Tool
15.7.2. Brush Tool
15.7.3. Extrude Tool

15.8. Tools: Pipelines

15.8.1. Tubes Tool
15.8.2. Symmetry Set-Up
15.8.3. Feature Subdivision and Map Baking

15.9. Head Retopology

15.9.1. Facial Loops
15.9.2. Mesh Optimization
15.9.3. Export

15.10. Full Body Retopology

15.10.1. Body Loops
15.10.2. Mesh Optimization
15.10.3. VR Requirements

Module 16. UVs

16.1. Advanced UVS

16.1.1. Warnings
16.1.2. Cuts
16.1.3. Texture Density

16.2. Creating UVS in ZBrush-UVMaster

16.2.1. Controls
16.2.2. Unwrap
16.2.3. Unusual Topology

16.3. UVMaster: Painting

16.3.1. Control Painting
16.3.2. Creating Seams
16.3.3. Checkseams

16.4. UVMaster: Packing

16.4.1. UV Packing
16.4.2. Creating Islands
16.4.3. Flatten

16.5. UVMaster: Clones

16.5.1. Working With Clones
16.5.2. Polygroups
16.5.3. Control Painting

16.6. Rizom UV

16.6.1. Rizom Script
16.6.2. The Interface
16.6.3. Importing With or Without UVS

16.7. Seams and Cuts

16.7.1. Keyboard Shortcuts
16.7.2. 3D Panel
16.7.3. UV Panel

16.8. UV Unwrap and Layout Panel

16.8.1. Unfold
16.8.2. Optimize
16.8.3. Layout and Packing

16.9. UV: More Tools

16.9.1. Align, Straighten, Flip, and Fit
16.9.2. TopoCopy and Stack1
16.9.3. Edge Loop Parameters

16.10. Advanced UV Rizom

16.10.1. Auto Seams
16.10.2. UVs Channels
16.10.3. Texel Density

Module 17. Baking

17.1. Model Baking

17.1.1. Preparing the Model for Baking
17.1.2. Baking Principles
17.1.3. Processing Options

17.2. Model Baking Painter

17.2.1. Baking in Painter
17.2.2. Low Poly Baking
17.2.3. High Poly Baking

17.3. Model Baking: Boxes

17.3.1. Using Boxes
17.3.2. Adjusting Distances
17.3.3. Computing Tangent Space per Fragment

17.4. Map Baking

17.4.1. Normal
17.4.2. ID
17.4.3. Ambient Occlusion

17.5. Map Baking: Curvatures

17.5.1. Curvature
17.5.2. Thickness
17.5.3. Improving Map Quality

17.6. Baking in Marmoset

17.6.1. Marmoset
17.6.2. Functions
17.6.3. Real-Time Baking

17.7. Setting Up the Document for Baking in Marmoset

17.7.1. High Poly and Low Poly in 3DS Max
17.7.2. Organizing the Scene in Marmoset
17.7.3. Verifying That Everything Is Correct

17.8. Bake Project Panel

17.8.1. Bake Group, High and Low
17.8.2. Geometry Menu
17.8.3. Load

17.9. Advanced Options

17.9.1. Output
17.9.2. Adjusting the Cage
17.9.3. Setting Up Maps

17.10. Baking

17.10.1. Maps
17.10.2. Result Preview
17.10.3. Baking Floating Geometry

Module 18. Substance Painter

18.1. Creating a Project

18.1.1. Importing Maps
18.1.2. UVs
18.1.3. Baking

18.2. Layers

18.2.1. Types of Layers
18.2.2. Layer Options
18.2.3. Materials

18.3. Painting

18.3.1. Types of Brushes
18.3.2. Filling Projections
18.3.3. Advance Dynamic Painting

18.4. Effects

18.4.1. Filling
18.4.2. Levels
18.4.3. Anchor Points

18.5. Masks

18.5.1. Alphas
18.5.2. Procedurals and Grunges
18.5.3. Hard Surfaces

18.6. Generators

18.6.1. Generators
18.6.2. Uses
18.6.3. Examples:

18.7. Filters

18.7.1. Filters
18.7.2. Uses
18.7.3. Examples:

18.8. Hard Surface Prop Texturing

18.8.1. Prop Texturing
18.8.2. Prop Texturing Evolution
18.8.3. Prop Texturing Final Assessment

18.9. Organic Prop Texturing

18.9.1. Prop Texturing
18.9.2. Prop Texturing Evolution
18.9.3. Prop Texturing Final Assessment

18.10. Render

18.10.1. IRay
18.10.2. Post-Processing
18.10.3. Col Use

Module 19. Marmoset

19.1. The Alternative

19.1.1. Import
19.1.2. Interface
19.1.3. Viewport

19.2. Classic

19.2.1. Scene
19.2.2. Tool Settings
19.2.3. History

19.3. Inside Scene

19.3.1. Render
19.3.2. Main Camera
19.3.3. Sky

19.4. Lights

19.4.1. Types
19.4.2. Shadow Catcher
19.4.3. Fog

19.5. Texture

19.5.1. Texture Project
19.5.2. Map Import
19.5.3. Viewport

19.6. Layers: Paint

19.6.1. Paint Layer
19.6.2. Fill Layer
19.6.3. Group

19.7. Layers: Adjustments

19.7.1. Adjustment Layer
19.7.2. Input Processor Layer
19.7.3. Procedural Layer

19.8. Layers: Masks

19.8.1. Mask
19.8.2. Channels
19.8.3. Maps

19.9. Materials

19.9.1. Types of Material
19.9.2. Settings
19.9.3. Applying Them to the Scene

19.10. Dossier

19.10.1. Marmoset Viewer
19.10.2. Exporting Render Images
19.10.3. Exporting Videos

Module 20. Sci-Fi Environment

20.1. Sci-Fi Concept and Planning

20.1.1. References
20.1.2. Planning
20.1.3. Blockout

20.2. Implementation in Unity

20.2.1. Importing  Blockout and Verifying Scaling
20.2.2. Skybox
20.2.3. Files and Preliminary Materials

20.3. Module 1: Floors

20.3.1. High to Low Modular Modeling
20.3.2. UVS and Baking
20.3.3. Texturing

20.4. Module 2: Walls

20.4.1. High to Low Modular Modeling
20.4.2. UVS and Baking
20.4.3. Texturing

20.5. Module 3: Roofs

20.5.1. High to Low Modular Modeling
20.5.2. Retopology, UVs, and Baking
20.5.3. Texturing

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

20.6.1. High to Low Modular Modeling
20.6.2. UVS and Baking
20.6.3. Texturing

20.7. Hero Asset 1: Mechanical Doors

20.7.1. High to Low Modular Modeling
20.7.2. Retopology, UVs, and Baking
20.7.3. Texturing

20.8. Hero Asset 2: Hibernation Chamber

20.8.1. High to Low Modular Modeling
20.8.2. Retopology, UVs, and Baking
20.8.3. Texturing

20.9. In Unity

20.9.1. Importing Textures
20.9.2. Application of Materials
20.9.3. Scene Lighting

20.10. End of Project

20.10.1. VR Visualization
20.10.2. Prefab and Export
20.10.3. Conclusions

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