Develop the main techniques of Digital Sculpture at an advanced level by studying the modeling of all types of objects, terrains, animals and people in depth, and position yourself as a highly sought-after expert in the design industry" 

The popularization of digital design and its integration into numerous disciplines has led to the creation of new professional profiles that adapt to current reality. As such, Digital Sculpture is one of the most requested fields in industries such as design or video games, which see in this specialized field a major solution to the complex 3D modeling challenges that have arisen in recent times.

As such, this Master's Degree in Digital Sculpture covers aspects such as the improvement and painting of meshes, the creation of machines in three dimensions according to their motility, the rigging of characters, human and animal anatomy, software such as Blender, Arnold, Photoshop or ZBrush, and modeling using light, among several others.

All this through an innovative 100% online teaching methodology that adapts to the personal circumstances of each student, allowing them to decide when and where they would like to study. Furthermore, students are taught by a high-level faculty who use numerous multimedia teaching resources such as practical exercises, video techniques, interactive summaries or lectures.

You will master the principles of Digital Sculpture thanks to this Program, which will give you access to numerous professional opportunities"

This Master's Degree in Digital Sculpture contains the most complete and up-to-date educational program on the market. Its most notable features are:

• Practical cases presented by experts in 3D modeling and digital sculpture
• 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 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

This degree prepares you for the present and future challenges of design and Digital Sculpture. Sign up now and achieve immediate progress in your career"  

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 immersion 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 throughout the program. This will be done with the help of an innovative system of interactive videos made by renowned experts.  

Deepen your knowledge in the use of software such as Arnold, Blender and ZBrush through this specialized program"

Bring the best solutions to your clients in the field of Digital Sculpture with this program, which is developed in a 100% online format"

The contents of this Master's Degree in Digital Sculpture have been structured in 10 specialized modules through which the professional can acquire the most advanced knowledge in edit poly, containment geometry for smoothing, splines, modeling for infoarchitecture, texture modifiers, biomimicry, the creation of hair, clothing and accessories, human and animal anatomy or the creation of terrains and organic environments, among many other elements.

The most complete and updated contents in Digital Sculpture are here: Don't wait any longer and transform your professional career with this program"

Module 1. Hard Surface Creation

1.1. Sculpture Techniques and Applications

1.1.1. Edit Poly
1.1.2. Splines
1.1.3. Organic Model

1.2. Edit Poly Monitoring

1.2.1. Loops and 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
1.3.2. Booleans
1.3.3. Low Poly vs. High Poly

1.4. Splines

1.4.1. Splines Modifiers
1.4.2. Working Plots and Vectors
1.4.3. Splines as Helpers in Scenes

1.5. Organic Structure

1.5.1. Zbrush Interface
1.5.2. Modeling Techniques in ZBrush
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. Façade Modeling
1.7.2. Follow-up of Plans
1.7.3. Interior Modeling

1.8. Scenography

1.8.1. Creation of Attrezzo
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 IDS for Modeling
1.9.3. Mesh Occultations, Polygroups and Cuts

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. Non-Photorealistic Cartoon

2.3. PBR Textures

2.3.1. Procedural Textures
2.3.2. Color Maps, Albedo and Diffuse
2.3.3. Opacity and Specularity

2.4. Mesh Enhancements

2.4.1. Normal Mapping
2.4.2. Displacement Mapping
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. Baked Hard Surface textures
2.6.2. Baked Organic Textures
2.6.3. Baking Joints

2.7. Exportations and Importations

2.7.1. Texture Formats
2.7.2. FBX, OBJ and STL
2.7.3. Subdivision vs. Dinamesh

2.8. Mesh Paintings

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 Texture Maps with High Poly Detail
2.9.3. Material Processing

2.10. Substance Painter - Advanced

2.10.1. Realistic Effects
2.10.2. Improving Baking
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 their Structure

3.2. Robot Exploded View

3.2.1. IMM and Chisel Brushes
3.2.2. Insert Mesh and Nanomesh
3.2.3. Zmodeler in Zbrush

3.3. Cybord

3.3.1. Sectioned by Means of Masks
3.3.2. TrimAdaptive 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 Polygon 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 in Time
3.6.3. Oxidants

3.7. Accidents

3.7.1. Collisions
3.7.2. Object Fragmentation
3.7.3. Destruction Brushes

3.8. Adaptations and Evolution

3.8.1. Biomimicry
3.8.2. Sci-fi, Dystopias, Uchronies and Utopias
3.8.3. Cartoon

3.9. Render Realistic Hardsurface 

3.9.1. Studio Scene
3.9.2. Light
3.9.3. Physical Camera

3.10. Render NPR 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. Trunk
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, Face and Mouth Interior

4.4. Characterized and Stylized Characters

4.4.1. Detailing with Organic Modeling
4.4.2. Characterization of Anatomies
4.4.3. Styling

4.5. Expressions

4.5.1. Facial and Layer Animations
4.5.2. Morpher
4.5.3. Texture-Based Animation

4.6. Posing

4.6.1. Character Psychology and Relaxation
4.6.2. Rig with Zpheras
4.6.3. Posing with motion capture

4.7. Characterization

4.7.1. Tattoos
4.7.2. Scars
4.7.3. Wrinkles, Freckles and Spots

4.8. Manual Retopology

4.8.1. 3D Max Software
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 Recurring Spaces

4.10.1. Scatter
4.10.2. Proxys
4.10.3. Groups of Objects

Module 5. Hair, Clothing and Accessories

5.1. Hair Creation

5.1.1. Modeled Hairstyle
5.1.2.  Low Poly Hair and Cards
5.1.3.  High Poly, Fibermesh and Fur y XgenHair

5.2. Cartoon Clothing

5.2.1. Mesh Extractions
5.2.2. Falsified Geometry
5.2.3. Shell

5.3. Fabric Sculpting

5.3.1. Physical Simulation
5.3.2. Force Calculation
5.3.3. Curving Brushes on Clothing

5.4. Realistic Clothing

5.4.1. Import into Marvelous Designer
5.4.2. Software Philosophy
5.4.3. Pattern Creation

5.5. Standard Patterns

5.5.1. Jerseys
5.5.2. Pants
5.5.3. Coats and Footwear

5.6. Joining and Physics

5.6.1. Realistic Simulations
5.6.2. Zippers
5.6.3. Seams

5.7. Apparel

5.7.1. Complex Patterns
5.7.2. Fabric Complexity
5.7.3. Shading

5.8. Advanced Apparel

5.8.1. Baking for Clothing
5.8.2. Adaptation
5.8.3. Export

5.9. Accessories

5.9.1. Jewelry
5.9.2. Backpacks and Handbags
5.9.3. Accessories

5.10. Rendering on Fabrics and Hair

5.10.1. Lighting and Shading
5.10.2. Hair Shader
5.10.3. Realistic Rendering using Arnold

Module 6. Animals and Creatures

6.1. Animal Anatomy for Modeling

6.1.1. Study of Proportions
6.1.2. Anatomic Differences
6.1.3. Musculature of the Different Species

6.2. Principal Masses

6.2.1. Main Structures
6.2.2. Balance Axes for Postures
6.2.3. Base Meshes using Zpheras

6.3. Head

6.3.1. Craniums
6.3.2. Jaws
6.3.3. Teeth and Antlers
6.3.4. Ribcage, Spine and Hips

6.4. Central Section

6.4.1. Ribcage
6.4.2. Spinal Column
6.4.3. Hips

6.5. Extremities

6.5.1. Legs and Hoofs
6.5.2. Fins
6.5.3. Wings and Claws

6.6. Animal Texture and Adaptation to Shapes

6.6.1. Fur, 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 Creatures
6.7.2. Geometry and Slice Cuts
6.7.3. Boolean Mesh

6.8. The Animal Imaginary: Fantastic Animals

6.8.1. Fantastic Animals
6.8.2. Hybridizations
6.8.3. Mechanical Creatures

6.9. NPR Species

6.9.1. Cartoon Styles
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. Mixed Texturing Techniques
6.10.3. Final Composition

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. Integration with 2D

7.2.1. Adaptation of the Program
7.2.2. Crease Pencil
7.2.3. 2D Combination in 3D

7.3. Modeling Techniques

7.3.1. Adaptation of the Program
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. Tips for Use

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. Exportations and Importations
7.6.3. Final Art

7.7. Adaptations from 3ds Max to Blender

7.7.1. Modeling
7.7.2. Texturing and Shading
7.7.3. Lighting

7.8. ZBrush to Blender Knowledge

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 Steps
7.9.2. Settings and Integrations
7.9.3. Exploitation of Functionalities

7.10. From Blender to 4D Cinema

7.10.1. Tips for 3D Design
7.10.2. Use of the Model for Video Mapping
7.10.3. Modeling with Particles and Effects

Module 8. Modeling with Light

8.1. Offline Arnold Methods

8.1.1. Indoor and Outdoor Lighting
8.1.2. Application of Displacement and Normal Maps
8.1.3. Render Modifiers

8.2. Vray

8.2.1. Lighting Platforms
8.2.2. Shading
8.2.3. Maps

8.3. Advanced Global Lighting Techniques

8.3.1. ActiveShade GPU Management
8.3.2. Optimization of Photorealistic Render . 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. Post-Production of Renders

8.5.1. Multi-Pass
8.5.2. 3D Illustration in Zbrush
8.5.3. Zbrush Multi-Pass

8.6. Integration into Real Spaces

8.6.1. Shading Materials
8.6.2. HDRI and Global Lighting
8.6.3. Image Tracking

8.7. Unity

8.7.1. Interface and Configuration
8.7.2. Import into Video Game Engines
8.7.3. Materials

8.8. Unreal

8.8.1. Interface and Configuration
8.8.2. Sculpture in Unreal
8.8.3. Shaders

8.9. Modeling in Video Game Engines

8.9.1. Pro-Builder
8.9.2. Modeling Tools
8.9.3. Prefabs and Memory Stored

8.10. Advanced Lighting Techniques for Video Games

8.10.1. Realtime, Pre-Calculation of Lights and HDRP
8.10.2. Ray Tracing
8.10.3. Post-Processing

Module 9. Creation of Organic Terrains and Environments

9.1. Organic Modeling in Nature

9.1.1. Brush Adaptations
9.1.2. Creation of Rocks and Cliffs
9.1.3. Integration with 3D Substance Painter

9.2. Terrain

9.2.1. Terrain Displacement Maps
9.2.2. Creation of Rocks and Cliffs
9.2.3. Scanning Software 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 Model of Terrain
9.4.2. Terrain Painting
9.4.3. Creation of Vegetation

9.5. Unreal Terrain

9.5.1. Height Map
9.5.2. Texturing
9.5.3. Unreal 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 the Model in Virtual Reality

9.9.1. Modeling and Texturing Tips
9.9.2. Exploitation of the Interaxial Space
9.9.3. Project Preparation

9.10. VR Scene Creation

9.10.1. Location of the Cameras
9.10.2. Land and Infoarchitecture
9.10.3. Parameters of Use

Module 10. Applications of Modeling in 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. Preparation for 3D Printing

10.2.1. Pouring
10.2.2. Inserts
10.2.3. Tips 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 with 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 Setting in Quill

10.6.1. VR Character Creation
10.6.2. Immersive Setting
10.6.3. Character Development

10.7. Scene Preparation in Quill

10.7.1. VR Character Creation
10.7.2. Posing
10.7.3. Spawn Area. Camara Adjustments

10.8. De Quill into Arnold and Unreal

10.8.1. Exporting and Formatting
10.8.2. Render using Arnold
10.8.3. Integration in Unreal

10.9. Augmented Reality Unity and Vuforia

10.9.1. Importing into Unity
10.9.2. Vuforia
10.9.3. Lighting an Materials

10.10. Augmented Reality: Scene Set-Up

10.10.1. Preparing the Scene
10.10.2. Visualization against Real Environment
10.10.3. Creation of Multiple Displays in AR

There is no better program to cover the latest in Digital Sculpture"