By knowing the proportions of the human body, you will be able to create realistic video game characters"  

Knowing how to model human characters in 3D is essential for programmers dedicated to the world of video games. This requires knowing what movements and poses a person performs in a given situation (swinging a sword, running, jumping, etc.) and how light and shadow affect each case. In addition, another component is added: the representativeness of the character.

Creating an individual from scratch is not the same as recreating him or her from a specific actor.

This is why large companies have become so selective when it comes to finding the right programmer. You must be able to demonstrate all of the above, as well as possess the necessary skills to work with different software, such as Maya or Mari.

Consequently, this Postgraduate diploma has been developed to meet the needs of students who wish to specialize in human figure modeling. Differentiating itself from the rest, by allowing a direct qualification (without final work) and an online modality, breaking geographical barriers, accessing the contents from anywhere in the world and at any time of the day or night.
In short, a qualification that will help students to improve their presence in the profession. It will also allow them to begin a new career path, focusing their efforts on becoming independent.

Do you Want to Create Characters as Realistic as Those in Devil May Cry or Last of Us? Enroll now in a 100% online program" 

This Postgraduate diploma in 3D Human Modeling 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 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

Modeling the human figure is a complex job, but in TECH you will learn the secrets of the great professionals to achieve it" 

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.   

With each case study presented in the Postgraduate diploma , you will get one step closer to your goal: modeling 3D characters"

Imagine working independently doing what you love. With this program you will be able to achieve it in a few weeks"

This Postgraduate diploma in 3D Human Modeling has a program divided into three modules. The first of these will present a basic introduction to human anatomy, essential knowledge for any expert modeling programmer. Then, the professional sculpting and the digital tools used to achieve textures can be used. Finally, at the end of the program, the students will be equipped to take on, on their own, any international project that requires their services. 

No knowledge of anatomy? Do you want to know the correct proportion of a human body? You've come to the right program" 

Module 1. Anatomy

1.1. General Skeletal Masses and Proportions 

1.1.1. Bones 
1.1.2. The Human Face 
1.1.3. Anatomical Canons 

1.2. Anatomical Differences between Genders and Sizes 

1.2.1. Shapes Applied to Characters 
1.2.2. Curves and Straight Lines 
1.2.3. Behavior, Bones, Muscles and Skin 

1.3. Head 

1.3.1. The Skull 
1.3.2. Muscles of the Head 
1.3.3. Layers: Skin, Bone and Muscle Facial Expressions 

1.4. The Torso 

1.4.1. Torso Musculature 
1.4.2. Central Axis of the Body 
1.4.3. Different Torsos 

1.5. The Arms 

1.5.1. Joints: Shoulder, Elbow and Wrist 
1.5.2. Arm Muscle Behavior 
1.5.3. Detail of the Skin 

1.6. Hand Sculpting 

1.6.1. Hand Bones 
1.6.2. Hand Muscles and Tendons 
1.6.3. Hand Skin and Wrinkles 

1.7. Leg Sculpting 

1.7.1. Joints: Hip, Knee and Ankle 
1.7.2. Muscles of the Leg 
1.7.3. Detail of the Skin 

1.8. The Feet 

1.8.1. Bone Construction for the Foot 
1.8.2. Foot Muscles and Tendons 
1.8.3. Foot Skin and Wrinkles 

1.9. Whole Human Figure Composition 

1.9.1. Complete Creation of a Human Base 
1.9.2. Joint and Muscle Attachment 
1.9.3. Skin Composition, Pores and Wrinkles 

1.10. Complete Human Model 

1.10.1. Model Polishing 
1.10.2. Hyper Skin Detail 
1.10.3. Composition 

Module 2 Retopology and Maya Modeling 

2.1. Advanced Facial Retopology 

2.1.1. Importing into Maya and the Use of Quad Draw 
2.1.2. Retopology of the Human Face 
2.1.3. Loops 

2.2. Human Body Retopology 

2.2.1. Creation of Loops in the Joints 
2.2.2. Ngons and Tris and When to Use Them 
2.2.3. Topology Refinement 

2.3. Retopology of Hands and Feet 

2.3.1. Movement of Small Joints 
2.3.2. Loops and Support Edges to Improve the Base Mesh of Feet and Hands 
2.3.3. Difference of Loops for Different Hands and Feet 

2.4. Differences Between Maya Modeling vs. ZBrush Sculpting 

2.4.1. Different Workflows for Modeling 
2.4.2. Low Poly Base Model 
2.4.3. High Poly Model 

2.5. Creation of a Human Model from Scratch in Maya 

2.5.1. Human Model Starting From the Hip 
2.5.2. General Base Form 
2.5.3. Hands and Feet and their Topology 

2.6. Transformation of Low poly Model to High Poly 

2.6.1. ZBrush 
2.6.2. High poly: Differences Between Divide and Dynamesh 
2.6.3. Sculpting Form: Alternation Between Low Poly and High Poly 

2.7. Detail Application in ZBrush: Pores, Capillaries, etc. 

2.7.1. Alphas and Different Brushes 
2.7.2. Detail: Dam-Standard Brush 
2.7.3. Projections and Surfaces in ZBrush 

2.8. Advanced Eye Creation in Maya 

2.8.1. Creation of the Spheres: Sclera, Cornea and Iris 
2.8.2. Lattice Tool 
2.8.3. Displacement Map from ZBrush 

2.9. Use of Deformers in Maya 

2.9.1. Maya Deformers 
2.9.2. Topology Movement: Polish 
2.9.3. Polishing of the Final Mesh 

2.10. Creation of Final UVs and Application of Displacement Mapping 

2.10.1. Character UVs and Importance of Sizes 
2.10.2. Texturing 
2.10.3. Displacement Map 

Module 3 UVs and Texturing with Algorithmic Substance Painter and Mari 

3.1. Creation of High-Level UVs in Maya 

3.1.1. Facial UVs 
3.1.2. Creation and Layout 
3.1.3. Advanced UVs 

3.2. Preparation of UVs for UDIM’s Systems Focused on Large Production Models 

3.2.1. UDIMs 
3.2.2. UDIMs in Maya 
3.2.3. Textures in 4K 

3.3. XYZ Textures: What Are They and How to Use Them? 

3.3.1. XYZ. Hyperrealism 
3.3.2. Multichannel Maps 
3.3.3. Texture Maps 

3.4. Texturing: Videogames and Cinema 

3.4.1. Substance Painter 
3.4.2. Mari 
3.4.3. Types of Texturing 

3.5. Texturing in Substance Painter for Videogames 

3.5.1. Baking from High to Low Poly 
3.5.2. PBR Textures and Their Importance 
3.5.3. ZBrush with Substance Painter 

3.6. Finalizing our Substance Painter Textures 

3.6.1. Scattering, Translucency 
3.6.2. Model Texturing 
3.6.3. Scars, Freckles, Tattoos, Paints or Makeup 

3.7. Hyper-Realistic Facial Texturing with XYZ Textures and Color Mapping 

3.7.1. XYZ Textures in ZBrush 
3.7.2. Wrap 
3.7.3. Correction of Errors 

3.8. Hyper-Realistic Facial Texturing with XYZ Textures and Color Mapping 

3.8.1. Mari’s Interface 
3.8.2. Texturing in Mari 
3.8.3. Projection of Skin Textures 

3.9. Advanced Detailing of Displacements Maps in ZBrush and Mari 

3.9.1. Texture Painting 
3.9.2. Displacement for Hyperrealism 
3.9.3. Layer Creation 

3.10. Shading and Texture Implementation in Maya 

3.10.1. Skin Shaders in Arnold 
3.10.2. Hyperrealistic Eye 
3.10.3. Touch-ups and Tips

A unique, key and decisive training experience to boost your professional development”