Create the next video game Nemesis by learning how to model 3D creatures” 

Modeling a human body in 3D is a job that requires precision and anatomical knowledge, but transferring that knowledge to fictional creatures requires a lot of skill and creativity. Each of these beings has special and complex characteristics, often having to design the skeleton and muscles from scratch.   

Thus, and taking into account the importance of this task, this Postgraduate Diploma has been designed, which will allow the student to create creatures from scratch, starting from different reference models such as the anatomical structure of animals. All the contents will be available in an online program, which greatly facilitates the study work of professionals who are currently working in other activities, but who are eager to start specializing in the sector.  

On the other hand, the didactic material of the program will allow to deepen in the development of a rig in Maya, to animate a 3D model, as well as to take the knowledge of ZBrush to Blender, a computer program dedicated to modeling, lighting, rendering and animating different graphic compositions.  

Chocobos, Pokémon or the mythical Spyro. Learn all the modeling secrets behind the main creatures of the video game world” 

This Postgraduate diploma in 3D Creature Modeling 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

It is imperative that you control creature modeling if you want to succeed in the video game industry” 

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.   

You will make your own models look immensely better thanks to the advanced techniques you will learn in this program”

You have in your hand the opportunity to reach the top of 3D Creature Modeling . Don't miss out and join the best team possible with TECH”

The entire content of this program is available to the students from the first day of the course, so that they can immediately study the modeling subjects that interest them most, even choosing the order in which they study them. In TECH it is the students who have total control over their study time, being able to adapt it to their own pace of life. Thanks to innovative and creative content, the student is guaranteed a more prosperous working future at the forefront of 3D design of the best video game creatures. 

You won't find anywhere else such complete and focused training material for your professional improvement as a 3D creature designer”

Module 1. Creature Modeling

1.1. Understanding Animal Anatomy 

1.1.1. Study of the Bones 
1.1.2. Proportions of an Animal Head 
1.1.3. Anatomic Differences 

1.2. Anatomy of the Skull 

1.2.1. Animal Face 
1.2.2. Muscles of the Head 
1.2.3. Skin Layer, Over Bones and Muscles 

1.3. Anatomy of the Spine and Thoracic Cage 

1.3.1. Animal Torso and Hip Musculature 
1.3.2. Central Axis of its Body 
1.3.3. Creation of Torsos in Different Animals 

1.4. Animal Musculature 

1.4.1. Muscle 
1.4.2. Synergy Between Muscles and Bones 
1.4.3. Shapes of an Animal Body 

1.5. Reptiles and Amphibians 

1.5.1. Reptilian Skin 
1.5.2. Small Bones and Ligaments 
1.5.3. Fine Detail 

1.6. Mammals 

1.6.1. Fur 
1.6.2. Larger, Stronger Bones and Ligaments 
1.6.3. Fine Detail 

1.7. Animals with Feathers 

1.7.1. Plumage 
1.7.2. Elastic and Light Bones and Ligaments 
1.7.3. Fine Detail     

1.8. Analysis of the Jaw and Creation of Teeth 

1.8.1.  Animal Specific Teeth 
1.8.2. Detailing of Teeth 
1.8.3. Teeth in the Jaw Cavity 

1.9. Creation of Fur, Fur for Animals 

1.9.1. Xgen in Maya: Grooming 
1.9.2. Xgen: Feathers 
1.9.3. Render 

1.10. Fantastic Animals 

1.10.1. Fantastic Animal 
1.10.2. Complete Modeling of the Animal 
1.10.3. Texturing, Lighting and Rendering 

Module 2 Rendering, Lighting and Posing of Models 

2.1. Characters Posing in ZBrush 

2.1.1. Rig in ZBrush with ZSpheres 
2.1.2. Transpose Master 
2.1.3. Professional Finish 

2.2. Rigging and Weighting of our Own Skeleton in Maya 

2.2.1. Rig in Maya 
2.2.2. Rigging Tools with Advanced Skeleton 
2.2.3. Rig Weighting 

2.3. Blend Shapes to Give Life to Your Character's Face 

2.3.1. Facial Expressions 
2.3.2. Blend Shapes of Maya 
2.3.3. Animation with Maya 

2.4. Mixamo, a Quick Way to Present Our Model 

2.4.1. Mixamo 
2.4.2. Mixamo Rigs 
2.4.3. Animations 

2.5. Lighting Concepts 

2.5.1. Lighting Techniques 
2.5.2. Light and Color 
2.5.3. Shade     

2.6. Arnold Render Lights and Parameters 

2.6.1. Lights with Arnold and Maya 
2.6.2. Lighting Control and Parameters 
2.6.3. Arnold Parameters and Configuration 

2.7. Lighting of our Models in Maya with Arnold Render 

2.7.1. Lighting Set Up 
2.7.2. Model Lighting 
2.7.3. Mixing Light and Color     

2.8. Going Deeper in Arnold: Denoising and the Different AOV's 

2.8.1. AOV´s 
2.8.2. Advanced Noise Treatment 
2.8.3. Denoiser 

2.9. Real-Time Rendering in Marmoset Toolbag 

2.9.1. Real-Time vs. Ray Tracing 
2.9.2.  Advanced Marmoset Toolbag 
2.9.3. Professional Presentation 

2.10. Post-Production Rendering in Photoshop 

2.10.1. Image Processing 
2.10.2. Photoshop: Levels and Contrasts 
2.10.3. Layers: Characteristics and their Effects 

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. UVs 
3.5.3. Blender UDIMs 

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