Certificate
The world's largest faculty of design”
Description
A complete program that will enable you to work in the different fields of Editorial Design, with specific knowledge of the factors that influence and determine the success of a publication"
Every designer must start their profession with a solid knowledge of the history of design, which will allow them to understand how current trends have been reached and what are the mechanisms that allow a design to be successful and relevant in a particular social, cultural or historical moment.
This concept of general culture will be taken to the territory of audiovisual culture.
The graphic design professional needs to know the audiovisual phenomena that move in the same paradigms as graphic communication. The influence of some media on others, the different combinations of media and the new graphic products that incorporate different techniques and approaches from other communicative areas are a knowledge that will open new lines of thought and work.
In this sense, having knowledge in all possible aspects of work is a gateway to very interesting possibilities and new avenues to explore.
Therefore, this program will address the aspects that a designer needs to know in order to plan, develop and finalize any graphic project. An educational path that will scale up the student's competencies to help them achieve the challenges of a top professional.
Graphic design is presented as a viable option for a professional who decides to work independently, but also to be part of any organization or company. An interesting avenue for professional development that will benefit from the specific knowledge that TECH makes available to you.
This program will allow you to enhance your skills and update your knowledge in Editorial Design and Digital Publications"
This Professional Master’s Degree in Editorial Design contains the most complete and up-to-date program on the market. The most important features include:
- Case studies presented by experts
- Graphic, schematic, and highly practical contents
- The latest developments and cutting-edge advances in this area
- Practical exercises where the self-assessment process can be carried out in order to improve learning
- Innovative and highly efficient methodologies
- Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
- Availability of content from any fixed or portable device with internet connection
A comprehensive analysis of the cultural and aesthetic phenomena that affect the criteria for the creation of graphic communication"
This program is focused on practicing the proposed theoretical learning. Through the most effective teaching systems and contrasting methods imported from the most prestigious universities in the world, the professional will be able to acquire new knowledge in an eminently practical way. In this way, TECH strives to convert its efforts into real and immediate skills.
The online system is another of the strengths of the educational proposal. With an interactive platform that takes advantage of the latest technological developments, TECH offers you the most interactive digital tools. In this way, it offers a form of learning that is totally adaptable to your needs, so that you can perfectly balance this program with your personal or professional life.
A practical and intensive learning that will give you all the tools in ideation, development and creation of any graphic project you need to work in this field"
A program created to allow you to implement the acquired knowledge almost immediately in your daily practice"
Syllabus
This Professional Master’s Degree has been created with the most demanding quality criteria to gather all the necessary fields of knowledge, from the historical review to the use of the most interesting tools of the moment"
Module 1. History of Design
1.1. Why Learn About the History of Design?
1.1.1. Valuing History
1.1.2. Anticipate the Future
1.1.3. The Past Frees Us
1.1.4. Conclusions
1.2. Considering the “History of Design” as a Discipline
1.2.1. How Do We Make History Out of History?
1.2.2. Background Information Considered
1.2.3. Development of the Discipline: 70, 80 and 90
1.2.4. The Object of Study in the History of Design
1.2.5. Trends and Lines of Research
1.3. Industrial Revolution and Other Channels
1.3.1. Consequences of the Industrial Revolution on Design
1.3.2. Oriental Influence
1.3.3. Arts & Crafts. William Morris
1.3.4. Aestheticism
1.3.5. Art Nouveau
1.4. Historical Overview I
1.4.1. Viennese Session
1.4.2. Deutscher Werkbund
1.4.3. Russian Constructivism
1.4.4. The De Stijl Movement and Neoplasticism
1.5. Bauhaus
1.5.1. What is the Bauhaus Movement?
1.5.2. First stage
1.5.3. Second Stage
1.5.4. Third Stage
1.5.5. Basic Principles
1.5.6. Influences
1.6. Historical Overview II
1.6.1. Art Deco
1.6.2. International Style
1.6.3. Post-War Design
1.6.4. The Ulm School
1.6.5. Swiss Design
1.7. Functional and Functionalist
1.7.1. The Functionalist View
1.7.2. The Beautiful and the Practical
1.7.3. Analogies of Functionalism
1.7.4. Functionalism as a Style
1.8. Historical Overview III
1.8.1. New York School
1.8.2. American Aerodynamism
1.8.3. Scandinavian Design
1.8.4. Democratic Design
1.9. Other Trends
1.9.1. Pop
1.9.2. High-Tech
1.9.3. Minimal
1.9.4. Kitsch
1.10. The Digital Era
1.10.1. Information Revolution
1.10.2. Computer-Assisted Design
1.10.3. Biodesign, Neobiomorphism, Friendly Design
1.10.4. The Digital Image and New Typography
Module 2. Introduction to Color
2.1. Color, Principles and Properties
2.1.1. Introduction to Color
2.1.2. Light and Color: Chromatic Synaesthesia
2.1.3. Color Attributes
2.1.4. Pigments and Colorants
2.2. Colors in the Chromatic Circle
2.2.1. Chromatic Circle
2.2.2. Cool and Warm Colors
2.2.3. Primary Colors and their Derivatives
2.2.1. Chromatic Relationships: Harmony and Contrast
2.3. Color Psychology
2.3.1. Construction of the Meaning of a Color
2.3.2. Emotional Load
2.3.3. Denotative and Connotative Values
2.3.4. Emotional Marketing. The Charge of the Color
2.4. Color Theory
2.4.1. A Scientific Theory. Isaac Newton
2.4.2. Goethe’s Theory of Colors
2.4.3. Joining Goethe’s Color Theory
2.4.4. Psychology of Color According to Eva Heller
2.5. Insisting on Color Classification
2.5.1. Guillermo Ostwald’s Double Cone
2.5.2. Albert Munsell’s Solid
2.5.3. Alfred Hickethier’s Cube
2.5.4. The CIE (International Commission on Illumination) Triangle
2.6. Individual Study of Colors
2.6.1. Black and White
2.6.2. Neutral Colors. The Gray Scale
2.6.3. Monochrome, Bichrome, Polychrome
2.6.4. Symbolic and Psychological Aspects of Colors
2.7. Color Models
2.7.1. Subtractive Model. CMYK Model
2.7.2. Additive Model. RGB Model
2.7.3. HSB Model
2.7.4. Pantone System. Pantone Color Charts
2.8. From Bauhaus to Murakami
2.8.1. Bauhaus and its Artists
2.8.2. Gestalt Theory of Color
2.8.3. Josef Albers. The Interaction of Color
2.8.4. Murakami: Connotations of the Absence of Color
2.9. Color in Project Design
2.9.1. Pop Art. Color of Cultures
2.9.2. Creativity and Color
2.9.3. Contemporary Artists
2.9.4. Analysis of Diverse Optics and Perspectives
2.10. Color Management in the Digital Environment
2.10.1. Color Spaces
2.10.2. Color Profiles
2.10.3. Monitor Calibration
2.10.4. What We Should Consider
Module 3. Editorial Design
3.1. Manual Communication Technology and Written Information
3.1.1. Introduction
3.1.2. Initial Forms of Writing
3.1.3. The Supports of Manual Writing
3.1.4. Levels of Graphic Representation in Early Writing
3.1.5. General Classification of Writing Signs
3.1.6. The Birth and Development of the Alphabet: The Independence of the Written Sign
3.1.7. Writing, Information Memory
3.1.8. The Forms of the Latin Alphabetic Script: Diachronic Observation
3.1.9. Images in the World of Handwriting
3.2. Printing System
3.2.1. Introduction
3.2.2. From Manual Reproduction to Mechanized Handwriting Reproduction
3.2.3. Imitation, Common Denominator of the First Mechanical Copying of Information
3.2.4. Background of Mechanized Reproduction of Information in Antiquity
3.2.5. Xylography, the Closest Antecedent to Gutenberg’s Technology
3.2.6. Pre-existing Knowledge and Technological Elements Required for the Gutenberg Printing Press
3.2.7. Gutenberg’s Printing Press
3.2.8. The Development of the Composition and Printing Phases of Written Information
3.3. Forms and Functions of Journalistic Design Elements
3.3.1. Introduction
3.3.2. What is Journalistic Design of Written Communication and Information?
3.3.3. The Elements of Journalistic Design
3.4. The Images
3.4.1. Introduction
3.4.2. Newspaper Images
3.4.3. Infographics: Nature, Characteristics, Functions and Forms
3.4.4. Non-Textual and Non-Iconic Graphic Resources
3.5. Color
3.5.1. Introduction
3.5.2. Nature, Function and Processes of Color Synthesis
3.5.3. Color Separation in Graphic Arts
3.5.4. Functions and Expressive Possibilities of Color in a Written Support
3.5.5. Spot Color Characteristics
3.6. Typographies: Identity and Use
3.6.1. Introduction
3.6.2. What is Typography?
3.6.3. The Morphology of Character: Semantic Implications
3.6.4. Classifications of Typographic Characters
3.6.5. The Functions of Typography
3.6.6. Computer Typography
3.7. Formats and Journalistic Information Design
3.7.1. Introduction
3.7.2. Diachronic Evolution of Journalistic Design in Print Media
3.7.3. The Format, the First Spatial Circumstance
3.7.4. The Layout and Architecture of the Page Space
3.7.5. Modular Design
3.7.6. The Gutenberg Diagram
3.7.7. VIC
3.8. Journalistic Design and Communication. Order and Hierarchy
3.8.1. Introduction
3.8.2. The Fundamental Objective of Journalistic Design
3.8.3. Information Distribution Criteria
3.8.4. Basic Page Layout Structures
3.8.5. Equilibrium Systems in the Expression of Informative Signifiers
3.8.6. Basic Principles Applicable in Journalistic Design
3.8.7. The First Page
3.8.8. The Inside Pages of the Newspaper
3.9. Technological Change in Communication Processes
3.9.1. Introduction
3.9.2. The Technological Change in Written Communication and Information Processes Immediately Preceding Digitization
3.9.3. Digitization, Changing Gears in the Development of Communication and Written Information
3.10. Digital Mediation in Today’s Journalism
3.10.1. Introduction
3.10.2. Digital Mediation in Today’s Journalism
3.10.3. Written Information in Digital Edition Journalism
Module 4. Design Methodology
4.1. Methodology and Design
4.1.1. What is the Design Methodology?
4.1.2. Differences Between Method, Methodology and Technique
4.1.3. Types of Methodology Techniques
4.1.4. Deduction, Induction and Abduction
4.2. Introduction to Design Research
4.2.1. Inheriting the Scientific Method
4.2.2. General Concepts of Research Processes
4.2.3. Main Phases of the Research Process
4.2.4. Schedule
4.3. Some Methodological Proposals
4.3.1. Bürdek Bernhard’s Proposals for a New Methodology
4.3.2. Bruce Archer’s Systematic Approach for Designers
4.3.3. Victor Papanek’s Integrated Generalizing Design
4.3.4. Bruno Munari’s Design Method
4.3.5. Bernd Löbach’s Creative Problem-Solving Process
4.3.6. Other Authors and Outlines of Other Methods
4.4. Defining the Problem
4.4.1. Requirements Identification and Analysis
4.4.2. Briefing. What Is it?
4.4.3. What Should a Good Brief Contain?
4.4.4. Tips for Preparing a Brief
4.5. Project Research
4.5.1. Background Study
4.5.2. Implication of the Project
4.5.3. Study of the Target Audience
4.5.4. Tools for the Target Audience Study
4.6. The Competitive Environment
4.6.1. In Relation to the Market
4.6.2. Competitive Analysis
4.6.3. Value Proposition
4.7. Viability Study
4.7.1. Social Viability. DAFO Analysis
4.7.2. Technical Feasibility
4.7.3. Economic Viability
4.8. Possible Solutions to Briefing
4.8.1. Emotionality in Creative Processes
4.8.2. Divergence, Transformation and Convergence
4.8.3. Brainstorming
4.8.4. Comparison of Ideas
4.9. Establishment of Objectives
4.9.1. General Objective
4.9.2. Specific Objectives
4.9.3. Technical Objectives
4.9.4. Aesthetic and Communicational Objectives
4.9.5. Market Objectives
4.10. Idea Development
4.10.1. Feedback in the Ideas Phase
4.10.2. Sketches
4.10.3. Presentation of Ideas
4.10.4. Control Methods and Assessment Criteria
Module 5. Graphic Design
5.1. Introduction to Graphic Design
5.1.1. What is Graphic Design?
5.1.2. Graphic Design Functions
5.1.3. Areas of Action in Graphic Design
5.1.4. Value of Graphic Design
5.2. Graphic Design as a Professional Activity
5.2.1. Influence of Technology on the Development of the Profession
5.2.2. What is the Role of the Graphic Designer?
5.2.3. Professional Fields
5.2.4. The Designer as a Citizen
5.3. Basic Elements
5.3.1. Point
5.3.2. Line
5.3.3. The Shape
5.3.4. Texture
5.3.5. The Space
5.4. Formal Elements
5.4.1. Contrast
5.4.2. The Balance
5.4.3. The Proportion
5.4.4. The Rhythm
5.4.5. Harmony
5.4.6. The Movement
5.4.7. Unit
5.5. Graphic Design References of the 20th and 21st centuries
5.5.1. Graphic Designers Who Have Made a Mark in History
5.5.2. Most Influential Designers
5.5.3. Graphic Designers Today
5.5.4. Visual References
5.6. Posters
5.6.1. Advertising Poster
5.6.2. Functions
5.6.3. 19th Century Posters
5.6.4. Visual References
5.7. Graphic Style
5.7.1. Iconic Language and Mass Culture
5.7.2. Graphic Design and its Relationship with Art
5.7.3. Own Graphic Style
5.7.4. Design Isn’t a Profession, It’s a Lifestyle
5.8. From the Streets to the Office
5.8.1. Design as the Latest Avant-Garde
5.8.2. Urban Art or Street Art
5.8.3. Street Art Applied to Advertising
5.8.4. Street Art and Brand Image
5.9. Most Used Digital Tools
5.9.1. Adobe Lightroom
5.9.2. Adobe Photoshop
5.9.3. Adobe Illustrator
5.9.4. Adobe InDesign
5.9.5. Corel Draw
5.10. Starting a Design Project
5.10.1. Briefing
5.10.2. Definition
5.10.3. Justification
5.10.4. Implications
5.10.5. Objectives
5.10.6. Methodology
Module 6. Ethics, Legislation and Professional Deontology
6.1. Ethics, Morals, Law and Professional Deontology
6.1.1. Basic Questions on Ethics. Some Moral Dilemmas
6.1.2. Conceptual Analysis and Etymological Origin
6.1.3. Differences Between Morals and Ethics
6.1.4. The Connection Between Ethics, Morals, Law and Deontology
6.2. Intellectual Property
6.2.1. What is Intellectual Property?
6.2.2. Types of Intellectual Property
6.2.3. Plagiarism and Copyright Infringement
6.2.4. Anticopyright
6.3. Practical Aspects of Current Ethics
6.3.1. Utilitarianism, Consequentialism and Deontology
6.3.2. Acting Consistently vs. Acting on Principles
6.3.3. Dynamic Efficiency of Acting Based on Principles
6.4. Legislation and Morality
6.4.1. Concept of Legislation
6.4.2. Concept of Morality
6.4.3. Connection Between Law and Morality
6.4.4. From Fairness to Unfairness based on Logical Reasoning
6.5. Professional Conduct
6.5.1. Dealing with the Customer
6.5.2. The Importance of Agreeing Terms and Conditions
6.5.3. Customers Don’t Buy Design
6.5.4. Professional Conduct
6.6. Responsibilities Toward Other Designers
6.6.1. Competitiveness
6.6.2. Prestige of the Profession
6.6.3. Impact on the Rest of the Professions
6.6.4. Relationship with Other Colleagues from the Profession. Criticism
6.7. Social Responsibility
6.7.1. Inclusive Design and Its Importance
6.7.2. Characteristics to Consider
6.7.3. Change of Mentality
6.7.4. Examples and References
6.8. Responsibilities with the Environment
6.8.1. Ecodesign. Why Is It So Important?
6.8.2. Characteristics of Sustainable Design
6.8.3. Environmental Implications
6.8.4. Examples and References
6.9. Ethical Conflicts and Decision-Making
6.9.1. Responsible Conduct and Practices in the Workplace
6.9.2. Best Practices of the Digital Designer
6.9.3. How to Resolve Conflicts of Interest
6.9.4. How to Deal with Gifts
6.10. Free Knowledge: Creative Commons Licenses
6.10.1. What are they?
6.10.2. Types of Licences
6.10.3. Symbology
6.10.4. Specific Uses
Module 7. Corporate Image
7.1. The Importance of Image in Businesses
7.1.1. What is Corporate Image?
7.1.2. Differences between Corporate Identity and Corporate Image
7.1.3. Where can the Corporate Image be Manifested?
7.1.4. Situations of Corporate Image Change. Why Get a Good Corporate Image?
7.2. Research Techniques in Corporate Image
7.2.1. Introduction
7.2.2. The study of the Company’s Image
7.2.3. Corporate Image Research Techniques
7.2.4. Qualitative Image Study Techniques
7.2.5. Types of Quantitative Techniques
7.3. Image Audit and Strategy
7.3.1. What is Image Audit?
7.3.2. Guidelines
7.3.3. Audit Methodology
7.3.4. Strategic Planning
7.4. Corporate Culture
7.4.1. What is Corporate Culture?
7.4.2. Factors Involved in Corporate Culture
7.4.3. Functions of Corporate Culture
7.4.4. Types of Corporate Culture
7.5. Corporate Social Responsibility and Corporate Reputation
7.5.1. CSR: Concept and Application of the Company
7.5.2. Guidelines for Integrating CSR into Businesses
7.5.3. CSR Communication
7.5.4. Corporate Reputation
7.6. Corporate Visual Identity and Naming
7.6.1. Corporate Visual Identity Strategies
7.6.2. Basic Elements
7.6.3. Basic Principles
7.6.4. Preparation of the Manual
7.6.5. The Naming
7.7. Brand Image and Positioning
7.7.1. The Origins of Trademarks
7.7.2. What is a Brand?
7.7.3. The Need to Build a Brand
7.7.4. Brand Image and Positioning
7.7.5. The Value of Brands
7.8. Image Management through Crisis Communication
7.8.1. Strategic Communication Plan
7.8.2. When it All Goes Wrong: Crisis Communication
7.8.3. Cases
7.9. The Influence of Promotions on Corporate Image
7.9.1. The New Advertising Industry Landscape
7.9.2. The Marketing Promotion
7.9.3. Features
7.9.4. Dangers
7.9.5. Promotional Types and Techniques
7.10. Distribution and Image of the Point of Sale
7.10.1. The Main Players in Commercial Distribution
7.10.2. The Image of Retail Distribution Companies through Positioning
7.10.3. Through its Name and Logo
Module 8. Typography
8.1. Introduction to Typography
8.1.1. What is Typography?
8.1.2. The Role of Typography in Graphic Design
8.1.3. Sequencing, Contrast, Shape and Countershape
8.1.4. Relationship and Differences between Typography, Calligraphy and Lettering
8.2. Multiple Origins of Writing
8.2.1. Ideographic Writing
8.2.2. The Phoenician Alphabet
8.2.3. The Roman Alphabet
8.2.4. The Carolingian Reform
8.2.5. The Modern Latin Alphabet
8.3. The Beginnings of Typography
8.3.1. The Printing Press, a New Era. First Typographies
8.3.2. The Industrial Revolution: Lithography
8.3.3. Modernism: The Beginnings of Commercial Typography
8.3.4. The Avant-Garde
8.3.5. Interwar Period
8.4. The Role of Design Schools in Typography
8.4.1. Bauhaus
8.4.2. Herbert Bayer
8.4.3. Gestalt Psychology
8.4.4. Swiss Design
8.5. Current Typography
8.5.1. 1960-1970, Precursors to the Revolution
8.5.2. Post-Modernism, Deconstructivism and Technology
8.5.3. In What Direction is Typography Going?
8.5.4. Typographies that Mark Trends
8.6. The Typographic Form I
8.6.1. Anatomy of Letters
8.6.2. Measurements and Attributes of the Type
8.6.3. Typographic Families
8.6.4. High Box, Low Box and Small Caps
8.6.5. Difference between Typography, Font and Typeface Family
8.6.6. Fillets, Lines and Geometric Elements
8.7. The Typographic Form II
8.7.1. The Typographic Combination
8.7.2. Typeface Formats (PostScript-TrueType-OpenType)
8.7.3. Typographic Licenses
8.7.4. Who Should Buy the License? The Client or the Designer?
8.8. Typographic Correction. The Composition of the Text
8.8.1. Spacing Between Letters. Tracking and Kerning
8.8.2. Space Between Words. Quad
8.8.3. Line Spacing
8.8.4. The Body of the Text
8.8.5. Attribute of the Text
8.9. The Drawing of the Letters
8.9.1. Creative Process
8.9.2. Traditional and Digital Materials
8.9.3. The Use of the Graphic Tablet and the iPad
8.9.4. Digital Typography: Contours and Bitmaps
8.10. Typographic Posters
8.10.1. Calligraphy as a Basis for the Drawing of Letters
8.10.2. How to Create a Typographic Composition that Makes an Impact?
8.10.3. Visual References
8.10.4. Doodle Phase
8.10.5. Project
Module 9. Layout
9.1. Definition and Contextualization
9.1.1. Relationship Between Editorial Design and Layout
9.1.2. Evolution in the Layout Process The Future
9.1.3. Design Factors: Proportion, Color, Tension, Balance and Motion
9.1.4. The Importance of White Space
9.2. Editorial Design of Magazines
9.2.1. Magazines, the Pinnacle of Beauty
9.2.2. Types of Magazine Designs. References
9.2.3. Digital Magazines and their Current Importance
9.2.4. Publication Elements
9.3. Newspaper Editorial Design
9.3.1. Newspapers, between Information and Graphic Beauty
9.3.2. How to Differentiate Yourself in Generalist Information
9.3.3. Newspaper Formats
9.3.4. Editorial Trends. References
9.4. Introduce Advertising in the Layout Process
9.4.1. What is Advertising? Types
9.4.2. Advantages and Disadvantages of Introducing Advertising into a Layout
9.4.3. How to Introduce Advertising in Print Media?
9.4.4. How to Introduce Advertising in Digital Media?
9.5. The Choice of Typography
9.5.1. Editorial Typography
9.5.2. The Importance of Size
9.5.3. Typography in Print Media
9.5.4. Typography in Digital Media
9.6. Orthotypography
9.6.1. What is Orthotypography?
9.6.2. Microtypography and Macrotypography
9.6.3. The Importance of the Orthotypography
9.6.4. Orthotypographical Misspellings
9.7. Layout on Social Networks?
9.7.1. The Scope of Layout in Social Networks
9.7.2. The Hashtag and its Importance
9.7.3. The Instagram Biography
9.7.4. Grids on Instagram
9.8. Copywriting
9.8.1. What is Copywriting?
9.8.2. Simplify the copy. The First Impact is What Counts
9.8.3. Copywriting Applications
9.8.4. Becoming a Good Copywriter
9.9. Delving into the Use of InDesign
9.9.1. Adding Text to a Plot
9.9.2. Using the Character and Paragraph Panel
9.9.3. Differences between Underlined Text and Paragraph Fillets
9.9.4. Control of Widow and Orphan Lines
9.9.5. Orthotypography: View Hidden Characters
9.10. Layout Projects
9.10.1. Creating a Magazine in InDesign
9.10.2. Aspects to Take into Account
9.10.3. Visual References: Great Layouts on Instagram
9.10.4. Updating Instagram with a Layout Strategy
Module 10. Final Art
10.1. Introduction to the Final Art
10.1.1. What is a Final Art?
10.1.2. The Beginning of the Final Art
10.1.3. The Evolution of the Final Art
10.1.4. Basic Tools
10.2. Elements Necessary to Make a Printout
10.2.1. Support
10.2.2. Coloring Matter
10.2.3. The Shape
10.2.4. The Machines
10.3. Planographic Printing
10.3.1. What is Planographic Printing?
10.3.2. Offset Systems
10.3.3. Properties of Offset Printing Systems
10.3.4. Advantages and Disadvantages
10.4. Recess Printing
10.4.1. What is Recess Printing?
10.4.2. Rotogravure Printing
10.4.3. Properties of Rotogravure Printing Systems
10.4.4. Finishes
10.5. Relief Printing
10.5.1. What is Relief Printing?
10.5.2. Typographic Clichés and Flexographic Clichés
10.5.3. Properties
10.5.4. Finishes
10.6. Permeography Printing
10.6.1. What is Permeography Printing?
10.6.2. Serigraphy
10.6.3. Physicochemical Properties of Screen-Printing Stencils
10.6.4. Advantages and Disadvantages
10.7. Digital Printing
10.7.1. What is Digital Printing?
10.7.2. Advantages and Disadvantages
10.7.3. Offset or Digital Printing?
10.7.4. Digital Printing Systems
10.8. Deepening in the Supports
10.8.1. Paper Supports
10.8.2. Rigid Supports
10.8.3. Textile Supports
10.8.4. Others
10.9. Binding
10.9.1. What Does Binding Consist Of?
10.9.2. Industrial Binding
10.9.3. Tradition is Still Alive
10.9.4. Types of Binding
10.10. Preparation of Final Arts. Environmental Considerations
10.10.1. The PDF Format: Adobe Acrobat
10.10.2. The Preflight. Checking of Color, Typography, Measurements, etc.
10.10.3. Think Before Printing. Environmental Impact
10.10.4. Sustainable Print Media
A unique, key, and decisive training experience to boost your professional development”