Organic Modeling and Texturing

This course is designed for students who wish to improve on their skills in the field of organic modeling and model texturing. Special attention is given to working process optimization and quality control, which guarantees your models are designed with efficiency and in accordance with the strict requirements of your future clients. 

The segment of the course that deals with organic modeling is designed as an advanced continuation of the course 3D/VFX Essentials. The main goal is to create from start to finish a humanoid character with a few elementary assets (clothes, tools, etc.), following the concept and fulfilling all aesthetic and technical criteria, enabling problem-free use of the final model in further phases of production (rigging, animation, lighting etc.).

After the final modeling stage it is time to give some life and color to our creations. In this part of the course, dedicated to texturing, we will teach you the proper thought process when creating and using texture. We will talk about the correct perception of objects in nature and how to use these observations for your models. Upon completion of the course students will have gained a complete understanding of texturing procedures and will be able to start texturing their own models, as well as finding their own place in the organization of a studio.


Basic information:

course duration:  8 weeks
requirements:   Digital Image Editing*
                       3D/VFX Essentials*
prices for international students click here        

prices for home students click here                
    *or  equivalent computer skills
  **price based on minimum 5 participants
***internship available
Online application send here>

Course content summary:


and overview  
  • Meeting the tutor and pupils
  • Role of a 3D modeler in the production pipeline 
  • Overview of the course, goal of the final project

Overview of basic sculpting tools
  Zbrush: short history, development and contribution to the industry
  Comparison: Zbrush vs Mudbox as modelling softwares (pros and cons)
  Maya as a support software in the modelling process

Difference between organic and inorganic modelling
  • Difference between a hard surface and organic model
  • 3D anatomy: the importance of understanding skeleton and musculature
  • Introducing model sheets as references, role of concept art in modelling workflow

Project Eva: phase I - modeling an asset
  • Zbrush: interface and basic pallet overview, setting up shortcuts
  • Setting up a 2D reference in 3D space; subtool and geometry overview
  • Zsphere: building an armature, 3D anatomy: skeleton
  • Skinning the armature: difference between adaptive and unified skin; what is Dynamesh?
  • Move/inflat/smooth brush: moving your topology and preparations for sculpting process
  • Using symmetry
  • Polygroups: introduction, digital topology analysis (quads, tris, edge loops), significance of the masking tool

Project Eva: phase II - modeling an asset (retopo, preparation for scupting)

Modelling the form; introducing clay, clay buildup, standard, dam standard brushes

Difference between Zadd and Zsub mode

Divide tool: Mesh subdivision, corellation to detail levels and polycount

Retopology: analysis through Maya; introduction to Zremesher tool

• Introduction to Dynamesh

Project Eva: phase III - modeling an asset  (sculpting, making of additional assets)

3D anatomy: musculature and visage

• Creating additional geometry in Zbrush, manipulating objects with Transpose tool, sculpting hair

Topology tool/Sketch: hair sculpting option

Creating inorganic assets (clothing) in Maya

Mesh extraction procedure

Shadowbox: creating details with 3D primitives

Spotlight: mapping relief into your mesh over 2D texture

Recap and quiz

Theory rewind, recap of the most important terms and concepts


General texturing process in 3D space, overview of relevant tools

• Comparison: Zbrush vs Mari vs Mudbox as texturing software (pros and cons)

• Difference between texure maps (UV mapping) and real time painting

• Methodology of painting: Paint Buffer (Projection) and real time painting

• Three basic types of texture maps: Diffuse (Color), Bump (Normal) and Specular (Reflecting)

• Other types of texture maps

• Texture resolution: 8, 16, 32 bit maps, analysis

Texturing process in Zbrush (real time painting), project Eva: phase IV

• Basic color theory

• Recap of familiar and introduction to new pallets: color, material, texture, alpha, stroke

• Shader mixer: editing default materials

• Alpha: making your own intesity maps

• Difference between RGB and MRGB mode

• Surface pallet

UV mapping I,  combining with real time painting

• Unfolding your mesh - creating a UV map in Maya's UV texture editor

• Using Polypaint tool for UV mapping in Zbrush

• Breaking an object into multiple material sections

Introduction to projection painting in Zbrush

• Analysis and usage of photography in the process of texturing

• Spotlight tool: painting the skin

Recap and quiz

• Theory rewind, recapturing most important terms and concepts, making a Zbrush turntable

Preparing for RIG: 

Preparing textured mesh for export into Maya

• SubTool master, introducing additional options 

• Decimation master: polygon reduction, importance of polycount in rendering process

• GoZ: Exporting reference mesh

Creating new topology in Maya QuadDraw

• QuadDraw: interface and basic tools overview, comparing to Zremesher

• Understanding retopology process

• Discussion and analysis of a good and bad mesh, finding anadequate reference

UV mapping II, map baking  - creating normal (bump) and color maps

• Recap: Unfolding your mesh - creating UV maps in Maya's UV texture editor

• Map baking, term analysis and demonstration in Maya

Assembling geometry and material tweaking in Maya

• Hypershade: assigning materials to new topology in Maya

• Blinn: editing default materials in Maya

• Renderer: Using high quality rendering for model assembly process in Maya

• Tweaking your normal and color  maps in Photoshop


  • Zbrush: Introduction to BPR render Passes toll, making several passes and assembling the image in Photoshop
  • Creating and HD turntable video in Zbrush
  • Zbrush: Editing the video in Adobre Premiere pro for the purposes of learning to create your own presentation and-or reel


Literature* :

Szunyoghy, Andras, Anatomija - škola crtanja, Veble Commerce, Zagreb, Hrvatska, 1999 
Legaspi, Chris, Anatomy for 3D Artists3dtotal Publishing, Worcester, United Kingdom, 2015
Demers, Owen, Digital Texturing and Painting, New Riders Publishing, Indianapolis, USA, 2002

* literature upon which the course is based is available to students in the Crater VFX Training Center library



Upon completion of the course students will recieve the internationally recognized Autodesk Certificate of Completion, as well as the Crater VFX Training Center Certificate. 


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