This program will allow you to learn the best techniques for designing and modeling characters for video games, preparing you to progress immediately in this great booming industry"

Of the cultural industries that exist today, video games are one of the most important. In the last 10 years it has advanced by leaps and bounds, reaching hundreds of millions of players around the world. For this reason, many companies, both industry giants and independent companies, need qualified specialists who can carry out the complex but exciting tasks involved in each new title.

Character design is one of the most important tasks when creating one of these works, as it will define, to a large extent, the game experience. Therefore, this is one of the most sought-after professional profiles, and this Advanced master’s degree in Character Design for Video Games will provide the student with all the necessary skills to progress in one of the major companies in this sector. Thus, this program will allow you to delve into issues such as the management of specialized design software such as Blender, Arnold or ZBrush, and modeling techniques, both 2D and 3D, applied to the visual creation of characters.

All of this is based on a 100% online teaching methodology that will allow the professional to continue working without interruptions, since it is completely adapted to his or her personal circumstances. In addition, you will be accompanied by a teaching staff of great prestige in the field of video game design, which will provide students with the best tools from numerous multimedia resources such as videos, case studies, lectures and master classes.

Learn in depth, thanks to this Advanced master’s degree, the most advanced specialized software and become an expert in Blender or ZBrush"

This Advanced master’s degree in Character Design for Video Games contains the most complete and up-to-date educational program on the market. The most important features include

• The development of case studies presented by experts in character design for video games
• 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 self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies in character design
• 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 best teaching staff will accompany you throughout the learning process, ensuring that you get the most cutting-edge knowledge in Character Design for Video Games"

Its teaching staff includes professionals belonging to the field of video game design, who pour into this program the experience of their work, as well as recognized specialists from leading companies 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 an immersive learning experience designed to prepare for real-life situations.

This program is designed around Problem-Based Learning, whereby the student must try to solve the different professional practice situations that arise throughout the program. For this purpose, the professional will be assisted by an innovative interactive video system created by renowned and experienced experts.

With TECH online methodology you will be able to combine your professional life with your studies, since it will be completely adapted to your personal circumstances"

Videos, lectures, master classes, interactive summaries... The best technology and the best educational resources at your fingertips"

This Advanced master’s degree in Character Design for Video Games has been designed by internationally renowned experts in this field, who have structured this program in 20 specialized modules. Thus, throughout the program, the professional will learn about the latest advances in the design of Props for video games, the creation of fantastic creatures, retopology and modeling with Maya or the use of ZBrush, among many other relevant aspects.

With this program, you will learn the best 2D design and 3D modeling techniques that will make you progress professionally immediately"

Module 1. Characters

1.1. Characters

1.1.1. Analysis and Development of Characters
1.1.2. Styles and Designs Based on Zones and Cultures
1.1.3. Evolution of Characters and Current Styles

1.2. Styles of Each Product

1.2.1. Characters for Cinema
1.2.2. Characters for Series
1.2.3. Characters for Videogames

1.3. Style Techniques

1.3.1. 2D
1.3.2. 3D
1.3.3. Cut-Out

1.4. Characters in Advertising

1.4.1. Advertising Styles Through History
1.4.2. Current 2D
1.4.3. Current 3D

1.5. Analysis of Types of Characters

1.5.1. Cartoon
1.5.2. Manga
1.5.3. Realistic

1.6. Typology

1.6.1. Hero– Antihero
1.6.2. Villain– Antithesis
1.6.3. Strongman– Goofy

1.7. Image Type

1.7.1. Professions
1.7.2. Age
1.7.3. Personalities

1.8. Animal Characters

1.8.1. Zoomorphic Humans
1.8.2. Anthropomorphic Animals
1.8.3. Pets

1.9. Characteristics of Characters

1.9.1. Literary
1.9.2. Psychological Techniques/Tactics
1.9.3. Physical

1.10. Merchandising of Characters

1.10.1. History
1.10.2. Style Guides
1.10.3. Commercial Application

Module 2. Character Building

2.1. Geometric Shapes

2.1.1. Basic
2.1.2. Combination of Shapes
2.1.3. Axis

2.2. Lines of Action

2.2.1. Curves, Horizontal and Diagonal
2.2.2. Simple Shapes in the Line of Action
2.2.3. Structure and Extremities

2.3. Complex Shapes

2.3.1. Combined Geometries
2.3.2. Pose
2.3.3. Division of Heads

2.4. Anatomy

2.4.1. Classic Human Canon
2.4.2. Proportions
2.4.3. Action Poses

2.5. Head

2.5.1. Construction
2.5.2. Axis
2.5.3. Eyes and Parts of the Face

2.6. Hair

2.6.1. Female
2.6.2. Male
2.6.3. Hairstyles

2.7. Creation of Cartoon Characters

2.7.1. Exaggerated Proportions
2.7.2. Heads and Expressions
2.7.3. Silhouette and Poses

2.8. Cartoon Animals

2.8.1. Pets
2.8.2. Quadrupeds and Birds
2.8.3. Other Types

2.9. Extremities

2.9.1. Construction
2.9.2. Joints
2.9.3. Poses

2.10. Hands

2.10.1. General Construction
2.10.2. Human
2.10.3. Cartoon

Module 3. Model Sheet

3.1. Construction

3.1.1. Three Quarters
3.1.2. Division of Heads
3.1.3. Clean Up

3.2. Turn Around

3.2.1. The Five Poses
3.2.2. Guidelines
3.2.3. Symmetries and Asymmetries

3.3. Poses

3.3.1. Action Poses
3.3.2. Interrelation with Props
3.3.3. Position of the Camara in the Pose

3.4. Expressions

3.4.1. Neutral
3.4.2. Happy
3.4.3. Sad and Angry

3.5. Hands

3.5.1. Construction
3.5.2. Positions and Turns
3.5.3. Interrelation with Props

3.6. Comparisons

3.6.1. Division of Heads and Guidelines
3.6.2. Adjustment of the Other Characters to the Main Character
3.6.3. Interrelation

3.7. Mouth Movements

3.7.1. Universal Standard and Add-ons
3.7.2. Corresponding to Phonetic Sayings and Reading
3.7.3. Neutral, Happy, Angry and Sad

3.8. Blinks

3.8.1. Neutral Forms and Other Expressions
3.8.2. Closed Position
3.8.3. Interleaved

3.9. Staging

3.9.1. Background Position
3.9.2. Camera Positions
3.9.3. Relations

3.10. Error Sheets

3.10.1. Do’s
3.10.2. Don’ts
3.10.3. Animator Support

Module 4. Props. Vehicles and Accessories

4.1. Props

4.1.1. What is a Prop?
4.1.2. Generalities
4.1.3. Props with a Strong Argument

4.2. Add-Ons

4.2.1. Add-Ons and Wardrobe
4.2.2. Real Accessories. Professions
4.2.3. Fantasy or Science Fiction Add-Ons

4.3. Cars

4.3.1. Classic
4.3.2. Current
4.3.3. Futuristic

4.4. Motorcycles

4.4.1. Current
4.4.2. Futuristic
4.4.3. 3-Wheeled Vehicles

4.5. Other Vehicles

4.5.1. Land
4.5.2. Air
4.5.3. Sea

4.6. Weapons

4.6.1. Types and Sizes
4.6.2. Design Based on Century
4.6.3. Shields

4.7. Firearms

4.7.1. Long
4.7.2. Short
4.7.3. Functioning Moving Parts

4.8. Futuristic Weapons

4.8.1. Fire
4.8.2. Energy
4.8.3. FX of Futuristic Weapons

4.9. Armor

4.9.1. Classic and Current
4.9.2. Futuristic
4.9.3. Mechanized and Robotic

4.10. Props in Videogames

4.10.1. Differences with Animation Props
4.10.2. Props and Their Uses
4.10.3. Design

Module 5. Animals

5.1. Quadrupeds

5.1.1. Compared Anatomy
5.1.2. Realistic Models and Their Use
5.1.3. Cartoon

5.2. Canines

5.2.1. Anatomy
5.2.2. Design
5.2.3. Poses

5.3. Felines

5.3.1. Compared Anatomy
5.3.2. Design
5.3.3. Poses

5.4. Herbivores

5.4.1. Ruminants
5.4.2. Equine
5.4.3. Cartoon

5.5. Big Mammals

5.5.1. Compared Anatomy
5.5.2. Construction
5.5.3. Poses

5.6. Marine Creatures

5.6.1. Mammals
5.6.2. Fish
5.6.3. Crustaceans

5.7. Birds

5.7.1. Anatomy
5.7.2. Poses
5.7.3. Cartoon

5.8. Amphibious Reptiles

5.8.1. Construction
5.8.2. Poses
5.8.3. Cartoon

5.9. Dinosaurs

5.9.1. Types
5.9.2. Construction
5.9.3. Poses

5.10. Insects

5.10.1. Design
5.10.2. Poses
5.10.3. Comparisons

Module 6. Objects and Plants as Characters

6.1. Flowers

6.1.1. Examples:
6.1.2. Construction
6.1.3. Poses and Expressions

6.2. Vegetables

6.2.1. Examples:
6.2.2. Construction
6.2.3. Poses and Expressions

6.3. Fruit

6.3.1. Examples:
6.3.2. Construction
6.3.3. Poses and Expressions

6.4. Carnivorous Plants

6.4.1. Examples:
6.4.2. Construction
6.4.3. Poses and Expressions

6.5. Trees

6.5.1. Types
6.5.2. Construction
6.5.3. Poses and Expressions

6.6. Shrubs

6.6.1. Types
6.6.2. Construction
6.6.3. Poses and Expressions

6.7. Objects

6.7.1. Examples:
6.7.2. Personality
6.7.3. Types

6.8. Household Appliances

6.8.1. Types
6.8.2. Construction
6.8.3. Poses and Expressions

6.9. Vehicles

6.9.1. Types
6.9.2. Construction
6.9.3. Poses and Expressions

6.10. Other Objects

6.10.1. Types
6.10.2. Construction
6.10.3. Poses and Expressions

Module 7. Fantastic Creatures

7.1. Dragons and Hydras

7.1.1. Examples:
7.1.2. Construction
7.1.3. Poses and Expressions

7.2. Giants

7.2.1. Examples:
7.2.2. Construction
7.2.3. Poses and Expressions

7.3. Flyers

7.3.1. Compared Anatomy
7.3.2. Construction
7.3.3. Poses and Expressions

7.4. Aquatic

7.4.1. Modifications of Real Types
7.4.2. Construction
7.4.3. Poses and Expressions

7.5. Subterranean

7.5.1. Geometric Shapes
7.5.2. Development
7.5.3. Poses and Expressions

7.6. Fairy-tale Beings

7.6.1. Human Anatomy
7.6.2. Construction
7.6.3. Poses and Expressions

7.7. Hybrid

7.7.1. Basics
7.7.2. Design
7.7.3. Poses and Expressions

7.8. Demon Beings

7.8.1. Anatomy
7.8.2. Design
7.8.3. Poses and Expressions

7.9. Gods and Demigods

7.9.1. Human Anatomy
7.9.2. Construction
7.9.3. Poses and Expressions

7.10. Other Fantastical Creatures

7.10.1. Examples:
7.10.2. Construction
7.10.3. Poses and Expressions

Module 8. Horror Characters

8.1. Vampires

8.1.1. Human Anatomy
8.1.2. Design
8.1.3. Poses and Expressions

8.2. Frankenstein’s Monster

8.2.1. Anatomy
8.2.2. Construction
8.2.3. Poses and Expressions

8.3. Werewolf

8.3.1. Compared Anatomy
8.3.2. Construction
8.3.3. Poses and Expressions

8.4. Mummy

8.4.1. Human Anatomy
8.4.2. Design
8.4.3. Poses and Expressions

8.5. Swamp Monster

8.5.1. Anatomy
8.5.2. Construction
8.5.3. Poses and Expressions

8.6. Ghosts

8.6.1. Examples:
8.6.2. Construction
8.6.3. Poses and Expressions

8.7. Zombies

8.7.1. Human Anatomy
8.7.2. Animal Zombies
8.7.3. Construction and Poses

8.8. Dr. Jekyll and Mr. Hyde

8.8.1. Human Anatomy
8.8.2. Construction
8.8.3. Poses and Expressions

8.9. Death

8.9.1. Anatomy
8.9.2. Construction
8.9.3. Poses and Expressions

8.10. Aliens and Beings from Other Dimensions

8.10.1. Geometric Shapes
8.10.2. Design
8.10.3. Poses and Expressions

Module 9. Color

9.1. Color Bases

9.1.1. Primary, Secondary and Tertiary Colors
9.1.2. Digital Color and the Problem of Color in Different Screens and Displays
9.1.3. Color and Pigmentation

9.2. Color Theory

9.2.1. The Color Wheel and its Scales
9.2.2. CMYK and RGB
9.2.3. Hexadecimal Pantone

9.3. Light Theory

9.3.1. Light and its Effects
9.3.2. Schemes in Animated Cinema
9.3.3. Physical Qualities of Color

9.4. Chromatic Relationships

9.4.1. Temperature
9.4.2. Contrast, Balance
9.4.3. Perception. Synesthesia

9.5. Contrasts and Harmonies

9.5.1. Visual Weight of Color
9.5.2. Color and Music
9.5.3. Harmonies and Equivalents

9.6. Psychology, Symbolism and Metaphor of Color

9.6.1. Emotional and Symbolic Color
9.6.2. The Meaning of Color in Different Cultures
9.6.3. Goethe’s Theory of Color

9.7. The Color of Narration

9.7.1. Color Analysis in Different Narrations
9.7.2. Color Script
9.7.3. Project

9.8. Color of Characters in the Background

9.8.1. Ambience
9.8.2. Contrasts
9.8.3. Color Palettes

9.9. Digital Application

9.9.1. Layers
9.9.2. Filters
9.9.3. Texture

9.10. Lighting

9.10.1. Light
9.10.2. Shade
9.10.3. Brightness

Module 10. Videogames and Characters

10.1. Characters and Videogames

10.1.1. Analysis of Characters in Videogames
10.1.2. Target of the Character
10.1.3. References

10.2. Types

10.2.1. 2D-3D
10.2.2. Platforms and Types
10.2.3. Pixelated Characters

10.3. Methodology

10.3.1. Planning of Work and Types of Documents
10.3.2. Analytical Animation
10.3.3. Line Draughtsman and Shape Draughtsman

10.4. Define a Style

10.4.1. References and Key Points
10.4.2. Light and Color: Creating an Atmosphere
10.4.3. Characters: Personality and Consistency

10.5. Traditional 2D

10.5.1. References
10.5.2. Creation
10.5.3. Model Sheet Package

10.6. Cut Out I

10.6.1. References
10.6.2. Methodology
10.6.3. Construction

10.7. Cut Out II

10.7.1. Color
10.7.2. Rig
10.7.3. Libraries

10.8. 3D

10.8.1. References
10.8.2. Design
10.8.3. Construction

10.9. Pixelated Characters

10.9.1. References and Documentation
10.9.2. Design
10.9.3. Poses

10.10. Reference for the 3D Model

10.10.1. Color Palettes
10.10.2. Texture
10.10.3. Light and Shade

Module 11. Anatomy

11.1. General Skeletal Masses, Proportions

11.1.1. Bones
11.1.2. The Human Face
11.1.3. Anatomical Canons

11.2. Anatomical Differences between Genders and Sizes

11.2.1. Shapes Applied to Characters
11.2.2. Curves and Straight Lines
11.2.3. Behavior of Bones, Muscles and Skin

11.3. Head

11.3.1. The Skull
11.3.2. Muscles of the Head
11.3.3. Layers: Skin, Bone and Muscle Facial Expressions

11.4. The Torso

11.4.1. Torso Musculature
11.4.2. Central Axis of the Body
11.4.3. Different Torsos

11.5. The Arms

11.5.1. Joints: Shoulder, Elbow and Wrist
11.5.2. Arm Muscle Behavior
11.5.3. Detail of the Skin

11.6. Hand Sculpting

11.6.1. Hand Bones
11.6.2. Hand Muscles and Tendons
11.6.3. Hand Skin and Wrinkles

11.7. Leg Sculpting

11.7.1. Joints: Hip, Knee and Ankle
11.7.2. Muscles of the Leg
11.7.3. Detail of the Skin

11.8. The Feet

11.8.1. Bone Construction for the Foot
11.8.2. Foot Muscles and Tendons
11.8.3. Foot Skin and Wrinkles

11.9. Whole Human Figure Composition

11.9.1. Complete Creation of a Human Base
11.9.2. Joint and Muscle Attachment
11.9.3. Skin Composition, Pores and Wrinkles

11.10. Complete Human Model

11.10.1. Model Polishing
11.10.2. Hyper Skin Detail
11.10.3. Composition

Module 12. Retopology and Maya Modeling

12.1. Advanced Facial Retopology

12.1.1. Importing into Maya and the Use of Quad Draw
12.1.2. Retopology of the Human Face
12.1.3. Loops

12.2. Human Body Retopology

12.2.1. Creation of Loops in the Joints
12.2.2. Ngons and Tris and When to Use Them
12.2.3. Topology Refinement

12.3. Retopology of Hands and Feet

12.3.1. Movement of Small Joints
12.3.2. Loops and Support Edges to Improve the Mesh Base of Feet and Hands
12.3.3. Difference of Loops for Different Hands and Feet

12.4. Differences Between Maya Modeling vs. ZBrush Sculpting

12.4.1. Different Workflows for Modeling
12.4.2. Low Poly Base Model
12.4.3. High Poly Model

12.5. Creation of a Human Model from Scratch in Maya

12.5.1. Human Model Starting From the Hip
12.5.2. General Base Form
12.5.3. Hands and Feet and their Topology

12.6. Transformation of Low Poly Model to High Poly

12.6.1. ZBrush
12.6.2. High Poly: Differences Between Divide and Dynamesh
12.6.3. Sculpting Form: Alternation Between Low Poly and High Poly

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

12.7.1. Alphas and Different Brushes
12.7.2. Detail: Dam-Standard Brush
12.7.3. Projections and Surfaces in ZBrush

12.8. Advanced Eye Creation in Maya

12.8.1. Creation of the Spheres: Sclera, Cornea and Iris
12.8.2. Lattice Tool
12.8.3. Displacement Map from ZBrush

12.9. Use of Deformers in Maya

12.9.1. Maya Deformers
12.9.2. Topology Movement: Polish
12.9.3. Polishing of the Final Mesh

12.10. Creation of Final UVs and Application of Displacement Mapping

12.10.1. UVs of the Character and Importance of Sizes
12.10.2. Texturing
12.10.3. Displacement Map

Module 13. UVs and Texturing with Allegorithmic Substance Painter and Mari

13.1. Creation of High-Level UVs in Maya 

13.1.1. Facial UVs 
13.1.2. Creation and Layout 
13.1.3. Advanced UV

13.2. UV Preparation for UDIM Systems Focused on High Throughput Models 

13.2.1. UDIM 
13.2.2. UDIM in Maya 
13.2.3. Textures in 4K

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

13.3.1. XYZ. Hyperrealism 
13.3.2. MultiChannel Maps 
13.3.3. Texture Maps

13.4. Texturing: Video Games and Film 

13.4.1. Substance Painter 
13.4.2. Mari 
13.4.3. Types of Texturing

13.5. Texturing in Substance Painter for Videogames 

13.5.1. Bakear from High to Low Poly 
13.5.2. PBR Textures and Their Importance 
13.5.3. ZBrush with Substance Painter

13.6. Finalizing our Substance Painter Textures 

13.6.1. Scattering, Translucency 
13.6.2. Model Texturing 
13.6.3.  Scars, Freckles, Tattoos, Paints or Makeup

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

13.7.1. XYZ Textures in ZBrush 
13.7.2. Wrap 
13.7.3. Correction of Errors

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

13.8.1. Mari’s Interface 
13.8.2. Texturing in Mari 
13.8.3. Projection of Skin Textures

13.9. Advanced Detailing of Displacements Maps in ZBrush and Mari 

13.9.1. Texture Painting 
13.9.2. Displacement for Hyperrealism 
13.9.3.  Creation of Layers

13.10. Shading and Texture Implementation in Maya 

13.10.1. Skin Shaders in Arnold 
13.10.2. Hyper-realistic Eye 
13.10.3. Touch-ups and Tips

Module 14. Rendering, Lighting and Posing of Models

14.1. Characters Posing in ZBrush

14.1.1. Rig in ZBrush with ZSpheres
14.1.2. Transpose Master
14.1.3. Professional Finish

14.2. Rigging and Weighting of our Own Skeleton in Maya

14.2.1. Rig in Maya
14.2.2. Rigging Tools with Advanced Skeleton
14.2.3. Rig Weighting

14.3. Blend Shapes to Give Life to Your Character’s Face

14.3.1. Facial Expressions
14.3.2. Blend Shapes of Maya
14.3.3. Animation with Maya

14.4.  Mixamo, a Quick Way to Present Our Model

14.4.1. Mixamo
14.4.2. Mixamo Rigs
14.4.3. Animations

14.5. Lighting Concepts

14.5.1. Lighting Techniques
14.5.2. Light and Color
14.5.3. Shade

14.6. Arnold Render Lights and Parameters

14.6.1. Lights with Arnold and Maya
14.6.2. Lighting Control and Parameters
14.6.3. Arnold Parameters and Configuration

14.7. Lighting of our Models in Maya with Arnold Render

14.7.1. Lighting Set Up
14.7.2. Model Lighting
14.7.3. Mixing Light and Color

14.8. Going Deeper in Arnold: Denoising and the Different AOV’s

14.8.1. AOVs
14.8.2. Advanced Noise Treatment
14.8.3. Denoiser

14.9. Real-Time Rendering in Marmoset Toolbag

14.9.1. Real-Time vs. Ray Tracing
14.9.2. Advanced Marmoset Toolbag
14.9.3. Professional Presentation

14.10. Post-Production Rendering in Photoshop

14.10.1. Image Processing
14.10.2. Photoshop: Levels and Contrasts
14.10.3. Layers: Characteristics and their Effects

Module 15. Hair Creation for Video Games and Movies

15.1. Differences Between Videogame Hair and Film Hair

15.1.1. FiberMesh and Cards
15.1.2. Tools for Hair Creation
15.1.3. Hair Software

15.2. ZBrush Hair Sculpting

15.2.1. Basic Shapes for Hairstyles
15.2.2. Creating Brushes in ZBrush for Hair
15.2.3. Curve Brushes

15.3. Hair Creation in XGen

15.3.1. XGen
15.3.2.  Collections and Descriptions
15.3.3. Hair vs. Grooming

15.4. XGen Modifiers: Adding Realism to Hair

15.4.1. Clumping
15.4.2. Coil
15.4.3. Hair Guides

15.5. Color and Region Maps:: for Absolute Hair Control

15.5.1. Maps of Hair Regions
15.5.2. Cuts: Curly, Shaved and Long Hair
15.5.3. Micro Detail: Facial Hair

15.6. Advanced XGen: Use of Expressions and Refinement

15.6.1. Expressions
15.6.2. Utilities
15.6.3. Hair Refinement

15.7. Cards Placement in Maya for Videogame Modeling

15.7.1. Fibers in Cards
15.7.2. Cards by Hand
15.7.3. Cards and Real-Time Engine

15.8. Optimization for Movies

15.8.1. Optimization of the Hair and its Geometry
15.8.2. Preparation for Physics with Movements
15.8.3. XGen Brushes

15.9. Hair Shading

15.9.1. Arnold Shader 
15.9.2. Hyper-Realistic Look
15.9.3. Hair Treatment

15.10. Render

15.10.1. Rendering When Using XGen
15.10.2. Lighting
15.10.3. Noise Elimination

Module 16. Clothing Simulation

16.1. Importing your Model to Marvelous Designer and Program Interface

16.1.1. Marvelous Designer
16.1.2. Software Functionality
16.1.3. Real-Time Simulations

16.2. Creation of Simple Patterns and Clothing Accessories

16.2.1. Creations: T-shirts, Accessories, Hats and Pockets
16.2.2. Fabric
16.2.3. Patterns, Zippers and Seams

16.3. Advanced Clothing Creation: Complex Patterns

16.3.1. Pattern Complexity
16.3.2. Physical Qualities of Fabrics
16.3.3. Complex Accessories

16.4. Clothing Simulation at Marvelous

16.4.1. Animated Models at Marvelous
16.4.2. Fabric Optimization
16.4.3. Model Preparation

16.5. Export of Clothing from Marvelous Designer to ZBrush

16.5.1. Low Poly in Maya
16.5.2. UVs in Maya
16.5.3. ZBrush, Use of Reconstruct Subdiv

16.6. Refinement of Clothing

16.6.1. Workflow
16.6.2. Details in ZBrush
16.6.3. Clothing Brushes in ZBrush

16.7. Improve the Simulation with ZBrush

16.7.1. From Tris to Quads
16.7.2. UV Maintenance
16.7.3. Final Carving

16.8. High Detail Clothing Texturing in Mari

16.8.1. Tileable Textures and Fabric Materials
16.8.2. Baking
16.8.3. Texturing in Mari

16.9. Maya Fabric Shading

16.9.1. Shading
16.9.2. Textures Created in Mari
16.9.3. Realism with Arnold Shaders

16.10. Render

16.10.1. Clothing Rendering
16.10.2. Illumination in Clothing
16.10.3. Texture Intensity

Module 17. Stylized Characters

17.1. Choice of a Stylized Character and Blocking of Base Forms

17.1.1. References and Concept Arts
17.1.2. Base Forms
17.1.3. Deformities and Fantastic Shapes

17.2. Conversion of our Low Poly to High Poly model: Head, Hair and Face Sculpting

17.2.1. Head Blocking
17.2.2. New Hair Creation Techniques
17.2.3. Improvements

17.3. Model Refinement: Hands and Feet

17.3.1. Advanced Sculpting
17.3.2. Refinement of General Shapes
17.3.3. Shape Cleaning and Smoothing

17.4. Creation of Jaw and Teeth

17.4.1. Creation of Human Teeth
17.4.2. Increase its Polygons
17.4.3. Fine Detailing of Teeth in ZBrush

17.5. Modeling Clothing and Accessories

17.5.1. Types of Cartoon Clothing
17.5.2. Zmodeler
17.5.3. Applied Maya Modeling

17.6. Retopology and Clean Topology Creation from Scratch

17.6.1. Retopology
17.6.2. Loops According to the Model
17.6.3. Optimization of the Mesh

17.7. UV Mapping and Baking

17.7.1. UVs
17.7.2. Substance Painter: Baking
17.7.3. Polishing Bakeo

17.8. Texturing & Painting In Substance Painter

17.8.1. Substance Painter: Texturing
17.8.2. Hand Painted Cartoon Techniques
17.8.3. Fill Layers with Generators and Masks

17.9. Lighting and Rendering

17.9.1. Lighting of Our Character
17.9.2. Color Theory and Presentation
17.9.3. Substance Painter: Render

17.10. Posing and Final Presentation

17.10.1. Diorama
17.10.2. Posing Techniques
17.10.3. Presentation of Models

Module 18. Creature Modeling

18.1. Understanding Animal Anatomy

18.1.1. Study of the Bones
18.1.2. Proportions of an Animal Head
18.1.3. Anatomic Differences

18.2. Anatomy of the Skull

18.2.1. Animal Face
18.2.2. Muscles of the Head
18.2.3. Skin Layer, Over Bones and Muscles

18.3. Anatomy of the Spine and Thoracic Cage

18.3.1. Animal Torso and Hip Musculature
18.3.2. Central Axis of its Body
18.3.3. Creation of Torsos in Different Animals

18.4. Animal Musculature

18.4.1. Muscle
18.4.2. Synergy Between Muscles and Bones
18.4.3. Shapes of an Animal Body

18.5. Reptiles and Amphibians

18.5.1. Reptilian Skin
18.5.2. Small Bones and Ligaments
18.5.3. Fine Detail

18.6. Mammals

18.6.1. Fur
18.6.2. Larger, Stronger Bones and Ligaments
18.6.3. Fine Detail

18.7. Animals with Feathers

18.7.1. Plumage
18.7.2. Elastic and Light Bones and Ligaments
18.7.3. Fine Detail

18.8. Analysis of the Jaw and Creation of Teeth

18.8.1. Animal Specific Teeth
18.8.2. Detailing of Teeth
18.8.3. Teeth in the Jaw Cavity

18.9. Creation of Fur, Fur for Animals

18.9.1. XGen in Maya: Grooming
18.9.2. XGen: Feathers
18.9.3. Render

18.10. Fantastic Animals

18.10.1. Fantastic Animal
18.10.2. Complete Modeling of the Animal
18.10.3. Texturing, Lighting and Rendering

Module 19. Blender: A New Twist in the Industry

19.1. Blender vs. ZBrush

19.1.1. Advantages and Differences
19.1.2. Blender and the 3D Art Industry
19.1.3. Advantages and Disadvantages of Freeware

19.2. Blender Interface and Program Knowledge

19.2.1. Interface
19.2.2. Customization
19.2.3. Experimentation

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

19.3.1. The Human Face
19.3.2. 3D Sculpting
19.3.3. Blender Brushes

19.4. Full Body Sculpting

19.4.1. The Human Body
19.4.2. Advanced Techniques
19.4.3. Detail and Refinement

19.5. Retopology and UVs in Blender

19.5.1. Retopology
19.5.2. UVs
19.5.3. Blender UDIMs

19.6. From Maya to Blender

19.6.1. Hard Surface
19.6.2. Modifiers
19.6.3. Keyboard Shortcuts

19.7. Blender Tips & Tricks

19.7.1. Range of Possibilities
19.7.2. Geometry Nodes
19.7.3. Workflow

19.8. Nodes in Blender: Shading and Texture Placement

19.8.1. Nodal System
19.8.2. Shaders Through Nodes
19.8.3. Textures and Materials

19.9. Rendering in Blender with Cycles and Eevee

19.9.1. Cycles
19.9.2. Eevee
19.9.3. Lighting

19.10. Implementation of Blender in our Workflow as Artists

19.10.1. Implementation in the Workflow
19.10.2. Search for Quality
19.10.3. Types of Exports

Module 20. Creation of Organic Environments in Unreal Engine

20.1. Unreal Engine Configuration and Project Organization

20.1.1. Interface and Configuration
20.1.2. Folder Organization
20.1.3. Search for Ideas and References

20.2. Blocking an Environment in Unreal Engine

20.2.1. Primary, Secondary and Tertiary PST Elements
20.2.2. Scene Design
20.2.3. Storytelling

20.3. Terrain Modeling: Unreal Engine and Maya

20.3.1. Unreal Terrain
20.3.2. Terrain Sculpting
20.3.3. Heightmaps: Maya

20.4. Modeling Techniques

20.4.1. Rock Sculpting
20.4.2. Rock Brushes
20.4.3. Cliffs and Optimization

20.5. Creation of Vegetation

20.5.1. Speedtree Software
20.5.2. Low-Poly Vegetation
20.5.3. Unreal’s Foliage System

20.6. Texturing in Substance Painter and Mari

20.6.1. Stylized Terrain
20.6.2. Hyper-realistic Texturing
20.6.3. Tips and Guidelines

20.7. Photogrammetry

20.7.1. Megascan Library
20.7.2. Agisoft Metashape Software
20.7.3. Model Optimization

20.8. Shading and Materials in Unreal Engine

20.8.1. Blending of Textures
20.8.2. Material Settings
20.8.3. Final Touches

20.9. Lighting and Post-Production of our Environment in Unreal Engine

20.9.1. Scene Look
20.9.2. Types of Lights and Atmospheres
20.9.3. Particles and Fog

20.10. Cinematic Rendering

20.10.1. Camera Techniques
20.10.2. Video and Screen Capture
20.10.3. Presentation and Final Finishing

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