Hair and clothing help shape the personality of the characters. It will be your job to model them to perfection" 

Lara Croft, Sub-Zero, Link, Dante, are just some of the characters that can be easily recognized by their hair or clothes. Therefore, companies with new projects put a lot of effort into achieving a realistic and distinctive finish. Therefore, they are looking for programmers who have knowledge in textures, lighting, shadows and movement. Also, it is no use having a realistic face if the clothes and hair do not move with the character.

In this way, it is highly valued in the sector, that professionals know about the tools that help to shape these aspects, such as Marvelous Designer, Blender or ZBrush. They can also be used to refine and texturize every strand and thread of a garment.

All this knowledge can be acquired through programs such as this Postgraduate diploma, which focuses on those aspects of 3D modeling that will allow you to achieve a result like the great titles of today. Included in its totality in a program with an online methodology, making it easy for the student to take them where and when they need to.

In addition, the didactic material and the set of practical examples will enable students to fully understand the methods for developing hair textures and weave simulation.

Can you remember the hair and clothing movement of video game characters? I'm sure you do. With this program you will achieve the same effect” 

This Postgraduate diploma in 3D Hair Creation and Clothing Simulation contains the most complete and up-to-date program on the market. Its most notable features are:

• 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

The great video game professionals use the tools that you will learn in this program. What are you waiting for?" Enroll now” 

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

Achieve professional success with a program that allows you to do it from anywhere in the world and at any time you want"

Surprise everyone with the techniques you will learn in this program, molding realistic clothes and hair in 3D"

The contents of this Postgraduate diploma have been designed following the recommendations of the teaching staff, who have worked in the sector and are familiar with its demands. It also relies on an online educational methodology, in which the student will have real examples and didactic material available at any time of the day. All this will allow them to learn the intricacies of simulating clothes and hair in 3D, thus finding new professional opportunities.  

Create each hair of the characters in your video games to give them that unique touch that distinguishes them from others” 

Module 1. Hair Creation for Video Games and Movies

1.1. Differences Between Videogame Hair and Film Hair

1.1.1. FiberMesh and Cards
1.1.2. Tools for Hair Creation
1.1.3. Hair Software

1.2. ZBrush Hair Sculpting

1.2.1. Basic Shapes for Hairstyles
1.2.2. Creating Brushes in ZBrush for Hair
1.2.3. Curve Brushes

1.3. Hair Creation in Xgen

1.3.1. XGen
1.3.2. Collections and Descriptions
1.3.3. Hair vs. Grooming

1.4. Xgen Modifiers: Adding Realism to Hair

1.4.1. Clumping
1.4.2. Coil
1.4.3. Hair guides

1.5. Color and Region Maps: for Absolute Hair Control

1.5.1. Maps of Hair Regions
1.5.2. Cuts: Curly, Shaved and Long Hair
1.5.3. Micro Detail: Facial Hair

1.6. Advanced XGen: Use of Expressions and Refinement

1.6.1. Expressions
1.6.2. Utilities
1.6.3. Hair Refinement

1.7. Cards Placement in Maya for Videogame Modeling

1.7.1. Fibers in Cards
1.7.2. Cards by Hand
1.7.3. Cards and Real-Time Engine

1.8. Optimization for Movies

1.8.1. Optimization of the Hair and its Geometry
1.8.2. Preparation for Physics with Movements
1.8.3. XGen Brushes

1.9. Hair Shading

1.9.1. Arnold Shader 
1.9.2. Hyper-Realistic Look
1.9.3. Hair Treatment

1.10. Render

1.10.1. Rendering When Using XGen
1.10.2. Lighting
1.10.3. Noise Elimination

Module 2. Clothing Simulation

2.1. Importing your Model to Marvelous Designer and Program Interface

2.1.1. Marvelous Designer
2.1.2. Software Functionality
2.1.3. Real-Time Simulations

2.2. Creation of Simple Patterns and Clothing Accessories

2.2.1. Creations: T-shirts, Accessories, Hats and Pockets
2.2.2. Fabric
2.2.3. Patterns, Zippers and Seams

2.3. Advanced Clothing Creation: Complex Patterns

2.3.1. Pattern Complexity
2.3.2. Physical Qualities of Fabrics
2.3.3. Complex Accessories

2.4. Clothing Simulation at Marvelous

2.4.1. Animated Models at Marvelous
2.4.2. Fabric Optimization
2.4.3. Model Preparation

2.5. Export of Clothing from Marvelous Designer to ZBrush

2.5.1. Low Poly in Maya
2.5.2. UVs in Maya
2.5.3. ZBrush, Use of Reconstruct Subdiv

2.6. Refinement of Clothing

2.6.1. Workflow
2.6.2. Details in ZBrush
2.6.3. Clothing Brushes in ZBrush

2.7. Improve the Simulation with ZBrush

2.7.1. From Tris to Quads
2.7.2. UV's Maintenance
2.7.3. Final Carving

2.8. High Detail Clothing Texturing in Mari

2.8.1. Tileable Textures and Fabric Materials
2.8.2. Baking
2.8.3. Texturing in Mari

2.9. Maya Fabric Shading

2.9.1. Shading
2.9.2. Textures Created in Mari
2.9.3. Realism with Arnold Shaders

2.10. Render

2.10.1. Clothing Rendering
2.10.2. Illumination in Clothing
2.10.3. Texture Intensity

Module 3. Blender: a new twist in the industry

3.1. Blender vs. ZBrush

3.1.1. Advantages and Differences
3.1.2. Blender and the 3D Art Industry
3.1.3. Advantages and Disadvantages of Freeware

3.2. Blender Interface and Program Knowledge

3.2.1. Interface
3.2.2. Customization
3.2.3. Experimentation

3.3. Head Sculpting and Transpolation of Controls from ZBrush to Blender

3.3.1. The Human Face
3.3.2. 3D Sculpting
3.3.3. Blender Brushes

3.4. Full Body Sculpting

3.4.1. The Human Body
3.4.2. Advanced Techniques
3.4.3. Detail and Refinement

3.5. Retopology and UVs in Blender

3.5.1. Retopology
3.5.2. UV´s
3.5.3. Blender UDIM's

3.6. From Maya to Blender

3.6.1. Hard Surface
3.6.2. Modifiers
3.6.3. Keyboard Shortcuts

3.7. Blender Tips & Tricks

3.7.1. Range of Possibilities
3.7.2. Geometry Nodes
3.7.3. Workflow

3.8. Nodes in Blender: Shading and Texture Placement

3.8.1. Nodal System
3.8.2. Shaders Through Nodes
3.8.3. Textures and Materials

3.9. Rendering in Blender with Cycles and Eevee

3.9.1. Cycles
3.9.2. Eevee
3.9.3. Lighting

3.10. Implementation of Blender in our Workflow as Artists

3.10.1. Implementation in the Workflow
3.10.2. Search for Quality
3.10.3. Types of Exports

A unique specialization program that will allow you to acquire advanced training in this field"