Digital Sculpture is a basic element in the development of video games. Learn about the latest developments in this area and experience immediate career advancement" 

The enormous boost that the video game industry has experienced in recent years has led to the need for highly specialized professionals in different fields. Thus, one of the most important is Digital Sculpture, which is responsible for the 3D modeling of scenarios, characters or different types of objects, devices and machines. This is a basic and absolutely essential area when creating a video game with 3D graphics.

For this reason, this Master's Degree in Digital Sculpture offers students the most advanced knowledge in this sector, so that they can face present and future challenges with all the guarantees. In this degree, you will also be able to delve into issues such as baked organic textures, 3D design applied to llettering,, the use of software such as Blender, Unity or Marmoset, or organic modeling of nature and terrain, among others.

All this, through an online teaching methodology designed especially for working professionals, since it is adapted to their personal circumstances. In addition, this degree has a highly specialized teaching staff in Digital Sculpture and will transmit all its knowledge to the student, thanks to the numerous and varied multimedia learning resources present in this Master's Degree. 

TECH's innovative methodological system allows you to choose the time and place to study this degree"

This 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

Enroll and gain access to numerous professional opportunities thanks to the new knowledge you will develop in this degree"

The programs 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 during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

Master the specialized software in this area and delve into the use of tools such as Blender, Unity or Marmoset"

Master the most innovative Digital Sculpture techniques thanks to this Master's Degree"

This degree is presented in 10 modules specialized in different facets of Digital Sculpture . Thus, through them the student will be able to delve into issues such as edit poly modeling, containment geometry for smoothing, modeling techniques in ZBrush, modeling for infoarchitecture, texturing, character rigging, human and animal anatomy applied to 3D modeling or the use of essential software for this area such as Blender.

You will deepen in this Master's Degree in the applications of modeling in 3D printing, VR, AR and photogrammetry"

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 Attrezo
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. Baking 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 Zpheras
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. Proxys
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. Hightmap
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 Ajusting 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

The best teachers and the best teaching methodology are combined with the most specialized and updated syllabus in Digital Sculpture . Don't miss this opportunity"