A comprehensive program that will provide you with the most advanced knowledge in Graphic Design, by learning all about the new tools and aesthetic trends in the current professional landscape"

Graphic Designers need be aware of the changing phenomena in graphic communication. Gaining knowledge of 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, will all 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. A path that will gradually increase the student's competencies to help them achieve the challenges of a first-class professional.

Graphic Design is presented as a viable option for professionals who decide to work independently but also to be part of any organization or company. An interesting avenue of professional development that will benefit from the specific knowledge that we provide you with in this program.

A Professional master’s degree that will not only teach you how to use the tools of Graphic Design, but will also give you the criteria you need to make the right creative decisions in your work"

This Professional master’s degree in Graphic Design contains the most complete and up-to-date program on the university scene. The most important features include:

• A large number of 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-evaluation process can be carried out to improve learning
• Innovative and highly efficient 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

All the knowledge required to work in Graphic Design compiled in a highly efficient Professional master’s degree, which will optimize your effort with the best results"

This program is focused on practicing the proposed theoretical learning. Through the most effective teaching systems and proven methods imported from the most prestigious universities in the world, you will be able to acquire new knowledge in an eminently practical way. In this way, we strive to convert your efforts into real and immediate skills.

Our online system is another of the strengths of this program. With an interactive platform that has the advantages of the latest technological developments, we provide you with the most interactive digital tools possible. In this way, we can offer you a way of learning that is totally adaptable to your needs so that you can perfectly balance your studying with your personal or professional life.

All the areas required for the creation of perfect graphic pieces will be developed in a clear and precise way so that the student can assimilate them quickly and permanently"

This program will enhance your skills and update your knowledge in Graphic Design"

This program's syllabus will take you from the most basic to the most specialized information in the process of ideation, development and completion of a Graphic Design project. With the most up-to-date approaches and the study of current trends and aesthetic requirements of the sector. 

All the aspects that a graphic designer should know to successfully carry out their work with solvency, brought together for you in an extensive and efficient syllabus that will boost your professional skills to the highest level”

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: 70s, 80s and 90s
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 and Crafts. William Morris
1.3.4. Aestheticism
1.3.5. Art Nouveau

1.4. Historical Overview I

1.4.1. Viennese Secession
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, Eco-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
2.2.4. 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. Introduction to Shape

3.1. The Shape

3.1.1. Definition: What Is Shape?
3.1.2. Qualities and Characteristics
3.1.3. Contour, Silhouette, Figure and Profile, Aspects of the Same Reality
3.1.4. Essential Representation

3.2. Typology of Shape. Aesthetics of Functional Shape

3.2.1. Types of Shape According to their Origin
3.2.2. Types of Shape According to their Configuration
3.2.3. Types of Shape According to their Meaning
3.2.4. Types of Shape According to their Relationship with Space
3.2.5. Types of Shape According to their Figure-Ground Relationship

3.3. First Graphic Shapes

3.3.1. Doodling
3.3.2. Stain Shapes
3.3.3. Dots and Lines
3.3.4. Awakening Creativity Through Hirameki
3.3.5. The Shape of Haiku

3.4. Composition of the Shape 

3.4.1. Open Shape and Closed Shape
3.4.2. Shape Composition, Semi-Formal and Informal
3.4.3. Symmetry
3.4.4. Axes. Axial and Radial Symmetry

3.5. The Importance of Proportion in Shape

3.5.1. Proportion
3.5.2. Golden Rectangle
3.5.3. Scale
3.5.4. Types of Scale

3.6. The Isms: A Practical Application

3.6.1. Cubism
3.6.2. Suprematism
3.6.3. Constructivism
3.6.4. Dadaism

3.7. The Human Being as a Measurement

3.7.1. Canon
3.7.2. Different Canons in the Human Figure
3.7.3. Representation of the Human Figure in Art
3.7.4. Ergonomy

3.8. Visual Perception and Shape

3.8.1. Visual Perception
3.8.2. Gestalt
3.8.3. Visual Thought
3.8.4. Interrelation of Shapes

3.9. Psychology of Shapes

3.9.1. Circle
3.9.2. Square
3.9.3. Triangle
3.9.4. Other Shapes

3.10. Introduction to Digital Shape

3.10.1. From Analog to the Digital World
3.10.2. Positive and Negative Shape
3.10.3. Repetition and Reflection
3.10.4. Combining Techniques

Module 4. Editorial Design

4.1. Introduction to Editorial Design

4.1.1. What Is Editorial Design?
4.1.2. Types of Publications in Editorial Design
4.1.3. The Editorial Designer and their Skills
4.1.4. Factors of Editorial Design

4.2. History of Editorial Design

4.2.1. Writing Research. Books in Ancient Times
4.2.2. The Gutenberg Revolution
4.2.3. The Bookstore of the Ancient Regime (1520-1760)
4.2.4. The Second Book Revolution (1760 -1914)
4.2.5. From the 19th Century to the Present Day

4.3. Fundamentals of Print and Digital Editorial Design

4.3.1. Format
4.3.2. The Grid
4.3.3. Typography
4.3.4. Color
4.3.5. Graphic Elements

4.4. Printed Editorial Media

4.4.1. Fields of Work and Formats
4.4.2. Books and their Elements: Titles, Headlines, Headers, Body of Text, etc.
4.4.3. Handling: Folding and Binding
4.4.4. Printing

4.5. Digital Editorial Media

4.5.1. Digital Publications
4.5.2. Aspects of Shape in Digital Publications
4.5.3. Most Used Digital Publications
4.5.4. Platforms for Digitally Publishing

4.6. Introduction to InDesign I: First Steps

4.6.1. Workspace Interface and Personalization
4.6.2. Panels, Preferences and Menus
4.6.3. The Fat-Plan
4.6.4. Options for Creating New Documents and Saving

4.7. Introduction to InDesign II: Delving into the Tools

4.7.1. Publication Format
4.7.2. The Grid in the Workspace
4.7.3. The Base Grid and its Importance
4.7.4. Use of Rulers and Guidelines Creation. Viewing mode
4.7.5. The Panel and Page Tool. The Master Pages
4.7.6. Working with Layers

4.8. Color and Image Management in InDesign

4.8.1. Sample Palette. Creating Color and Shades
4.8.2. Dropper Tool
4.8.3. Gradients
4.8.4. Image Organization and Color Management
4.8.5. Use of Vignettes and Anchored Objects
4.8.6. Creation and Configuration of a Table

4.9. Text in InDesign

4.9.1. Text: Choosing Typographies
4.9.2. Text Frames and their Options
4.9.3. Character and Paragraph Panels
4.9.4. Insert Footnotes. Tabulation

4.10. The Editorial Project

4.10.1. Relationship of Editorial Designers: Projects
4.10.2. Creating a First Project in InDesign
4.10.3. What Elements Should be Included?
4.10.4. Thinking of the Idea

Module 5. Design Methodology

5.1. Methodology and Design

5.1.1. What is the Design Methodology?
5.1.2. Differences Between Method, Methodology and Technique
5.1.3. Types of Methodology Techniques
5.1.4. Deduction, Induction and Abduction

5.2. Introduction to Design Research

5.2.1. Inheriting the Scientific Method
5.2.2. General Concepts of Research Processes
5.2.3. Main Phases of the Research Process
5.2.4. Schedule

5.3. Some Methodological Proposals

5.3.1. Bürdek Bernhard's Proposals for a New Methodology
5.3.2. Bruce Archer's Systematic Approach for Designers
5.3.3. Victor Papanek's Integrated Generalizing Design
5.3.4. Bruno Munari's Design Method
5.3.5. Bernd Löbach's Creative Problem-Solving Process
5.3.6. Other Authors and Outlines of Other Methods

5.4. Defining the Problem

5.4.1. Requirements Identification and Analysis
5.4.2. Briefing. What Is it?
5.4.3. What Should a Good Brief Contain?
5.4.4. Tips for Preparing a Brief

5.5. Project Research

5.5.1. Background Study
5.5.2. Implication of the Project
5.5.3. Study of the Target Audience
5.5.4. Tools for the Target Audience Study 

5.6. The Competitive Environment

5.6.1. In Relation to the Market
5.6.2. Competitive Analysis
5.6.3. Value Proposition

5.7. Viability Study

5.7.1. Social Viability. SWOT Analysis
5.7.2. Technical Viability
5.7.3. Economic Viability

5.8. Possible Solutions to Briefing

5.8.1. Emotionality in Creative Processes
5.8.2. Divergence, Transformation and Convergence
5.8.3. Brainstorming
5.8.4. Comparison of Ideas

5.9. Establishment of Objectives

5.9.1. General Objective
5.9.2. Specific Objectives
5.9.3. Technical Objectives
5.9.4. Aesthetic and Communicational Objectives
5.9.5. Market Objectives

5.10. Idea Development

5.10.1. Feedback in the Ideas Phase
5.10.2. Sketches
5.10.3. Presentation of Ideas
5.10.4. Control Methods and Assessment Criteria

Module 6. Graphic Design

6.1. Introduction to Graphic Design

6.1.1. What is Graphic Design?
6.1.2. Graphic Design Functions
6.1.3. Areas of Action in Graphic Design
6.1.4. Value of Graphic Design 

6.2. Graphic Design as a Professional Activity

6.2.1. Influence of Technology on the Development of the Profession
6.2.2. What is the Role of the Graphic Designer?
6.2.3. Professional Fields
6.2.4. The Designer as a Citizen

6.3. Basic Elements

6.3.1. Point
6.3.2. Line
6.3.3. The Shape
6.3.4. Texture
6.3.5. The Space

6.4. Formal Elements

6.4.1. Contrast
6.4.2. The Balance
6.4.3. The Proportion
6.4.4. The Rhythm
6.4.5. Harmony 
6.4.6. The Movement
6.4.7. Unit

6.5. Graphic Design References of the 20th and 21st centuries

6.5.1. Graphic Designers Who Have Made a Mark in History
6.5.2. Most Influential Designers
6.5.3. Graphic Designers Today
6.5.4. Visual References

6.6. Posters

6.6.1. Advertising Poster
6.6.2. Functions
6.6.3. 19th Century Posters
6.6.4. Visual References

6.7. Graphic Style

6.7.1. Iconic Language and Mass Culture
6.7.2. Graphic Design and its Relationship with Art
6.7.3. Own Graphic Style
6.7.4. Design Isn’t a Profession, It’s a Lifestyle

6.8. From the Streets to the Office

6.8.1. Design as the Latest Avant-Garde
6.8.2. Urban Art or Street Art
6.8.3. Street Art Applied to Advertising
6.8.4. Street Art and Brand Image

6.9. Most Used Digital Tools

6.9.1. Adobe Lightroom
6.9.2. Adobe Photoshop
6.9.3. Adobe Illustrator
6.9.4. Adobe InDesign
6.9.5. CorelDRAW

6.10. Starting a Design Project

6.10.1. Briefing
6.10.2. Definition
6.10.3. Justification
6.10.4. Implications
6.10.5. Objectives
6.10.6. Methodology

Module 7. Corporate Image

7.1. Identity

7.1.1. Idea of Identity
7.1.2. Why is Identity Sought?
7.1.3. Types of Identity
7.1.4. Digital Identity

7.2. Corporate Identity

7.2.1. Definition. Why have a Corporate Identity?
7.2.2. Factors Influencing Corporate Identity
7.2.3. Corporate Identity Components
7.2.4. Identity Communication
7.2.5. Corporate Identity, Branding and Corporate Image

7.3. Corporate Image

7.3.1. Characteristic of the Corporate Image
7.3.2. What is Corporate Image for?
7.3.3. Types of Corporate Image
7.3.4. Examples:

7.4. Basic identifying signs

7.4.1. The Name or Naming
7.4.2. Logotypes
7.4.3. Monograms
7.4.4. Imagotypes

7.5. Identity Memorization Factors

7.5.1. Originality
7.5.2. The Symbolic Value
7.5.3. Pregnancy
7.5.4. Repetition

7.6. Methodology for the Brand Creation Process

7.6.1. Study of the Sector and Competition
7.6.2. Briefing, Template
7.6.3. Define Brand Strategy and Personality. Values
7.6.4. Target Audience

7.7. The Customer

7.7.1. Understanding What the Customer is Like
7.7.2. Customer Typologies
7.7.3. The Meeting Process
7.7.4. The Importance of Knowing the Customer
7.7.5. Establish Budget

7.8. Corporate Identity Manual

7.8.1. Construction Standards and Brand Application
7.8.2. Corporate Typography
7.8.3. Corporate Colors
7.8.4. Other Graphic Elements
7.8.5. Examples of Corporate Manuals

7.9. Identity Redesign

7.9.1. Reasons to Choose an Identity Redesign
7.9.2. Managing a Change in Corporate Identity
7.9.3. Good Practice. Visual References
7.9.4. Malpractice. Visual References

7.10. Brand Identity Project

7.10.1. Presentation and Explanation of the Project. Referrals
7.10.2. Brainstorming Market Analysis
7.10.3. Target Audience, Brand Value
7.10.4. First Ideas and Sketches. Creative Techniques
7.10.5. Establishment of the Project. Fonts and Colors
7.10.6. Delivery and Correction of Projects

Module 8. Creating a Portfolio

8.1. Portfolio

8.1.1. The Portfolio as your Letter of Introduction
8.1.2. The Importance of a Good Portfolio
8.1.3. Orientation and Motivation
8.1.4. Practical Advice

8.2. Characteristics and Elements

8.2.1. Physical Format
8.2.2. Digital Format
8.2.3. Use of Mockups
8.2.4. Common Errors

8.3. Digital Platforms

8.3.1. Continuous Learning Communities
8.3.2. Social Networks: Twitter, Facebook, Instagram
8.3.3. Professional Networks: LinkedIn, InfoJobs
8.3.4. Cloud Portfolios: Behance

8.4. The Designer in the Labor Scheme

8.4.1. Career Opportunities for a Designer
8.4.2. Design Agencies
8.4.3. Business Graphic Design 
8.4.4. Success Stories

8.5. How Do I Present Myself Professionally?

8.5.1. Keep Up-to-Date, and Constantly Recycle Knowledge
8.5.2. The CV and Its Importance
8.5.3. Common Errors in the CV
8.5.4. How to Create a Good CV

8.6. The New Consumer

8.6.1. Value Perception
8.6.2. Defining Your Target Audience
8.6.3. Empathy Map
8.6.4. Personal Relations

8.7. My Personal Brand

8.7.1. Entrepreneurship: The Search for Meaning
8.7.2. Convert your Passion into a Career
8.7.3. The Ecosystem Around your Activity
8.7.4. The Canvas Model

8.8. Visual Identity

8.8.1. Naming
8.8.2. Brand Values
8.8.3. The Big Topics
8.8.4. Moodboard. Use of Pinterest
8.8.5. Visual Factors Analysis
8.8.6. Time Factors Analysis

8.9. Ethics and Responsibility

8.9.1. Ethical Decalogue for the Practice of Design
8.9.2. Copyrights
8.9.3. Design and Conscientious Objection
8.9.4. The “Good” Design

8.10. The Price of my Work

8.10.1. Do you Need Money to Live?
8.10.2. Basic Accounting for Entrepreneurs
8.10.3. Types of Costs
8.10.4. Your Price per Hour. Retail Price

Module 9. Ethics, Legislation and Professional Deontology

9.1. Ethics, Morals, Law and Professional Deontology

9.1.1. Basic Questions on Ethics. Some Moral Dilemmas
9.1.2. Conceptual Analysis and Etymological Origin
9.1.3. Differences Between Morals and Ethics
9.1.4. The Connection Between Ethics, Morals, Law and Deontology

9.2. Intellectual Property

9.2.1. What is Intellectual Property?
9.2.2. Types of Intellectual Property
9.2.3. Plagiarism and Copyright Infringement
9.2.4. Anticopyright

9.3. Practical Aspects of Current Ethics

9.3.1. Utilitarianism, Consequentialism and Deontology
9.3.2. Acting Consistently vs. Acting on Principles
9.3.3. Dynamic Efficiency of Acting Based on Principles

9.4. Legislation and Morality

9.4.1. Concept of Legislation
9.4.2. Concept of Morality
9.4.3. Connection Between Law and Morality
9.4.4. From Fairness to Unfairness based on Logical Reasoning

9.5. Professional Conduct

9.5.1. Dealing with the Customer
9.5.2. The Importance of Agreeing Terms and Conditions
9.5.3. Customers Don't Buy Design
9.5.4. Professional Conduct

9.6. Responsibilities Toward Other Designers

9.6.1. Competitiveness
9.6.2. Prestige of the Profession
9.6.3. Impact on the Rest of the Professions
9.6.4. Relationship with Other Colleagues from the Profession. Criticism

9.7. Social Responsibility

9.7.1. Inclusive Design and Its Importance
9.7.2. Characteristics to Consider
9.7.3. Change of Mentality
9.7.4. Examples and References

9.8. Responsibilities with the Environment

9.8.1. Ecodesign. Why Is It So Important?
9.8.2. Characteristics of Sustainable Design
9.8.3. Environmental Implications
9.8.4. Examples and References

9.9. Ethical Conflicts and Decision-Making

9.9.1. Responsible Conduct and Practices in the Workplace
9.9.2. Best Practices of the Digital Designer
9.9.3. How to Resolve Conflicts of Interest
9.9.4. How to Deal with Gifts

9.10. Free Knowledge: Creative Commons Licenses

9.10.1. What Are They?
9.10.2. Types of Licences
9.10.3. Symbology
9.10.4. Specific Uses

Module 10. Typography

10.1. Introduction to Typography

10.1.1. What is Typography?
10.1.2. The Role of Typography in Graphic Design
10.1.3. Sequencing, Contrast, Shape and Contrashape
10.1.4. Relationship and Differences between Typography, Caligraphy and Lettering

10.2. Multiple Origins of Writing

10.2.1. Ideographic Writing
10.2.2. The Phoenician Alphabet
10.2.3. The Roman Alphabet
10.2.4. The Carolingian Reform
10.2.5. The Modern Latin Alphabet

10.3. The Beginnings of Typography

10.3.1. The Printing Press, a New Era. First Typographies
10.3.2. The Industrial Revolution: Lithography
10.3.3. Modernism: The Beginnings of Commercial Typography
10.3.4. The Avant-Garde
10.3.5. Interwar Period

10.4. The Role of Design Schools in Typography

10.4.1. Bauhaus
10.4.2. Herbert Bayer
10.4.3. Gestalt Psychology
10.4.4. Swiss Design

10.5. Current Typography

10.5.1. 1960-1970, Precursors to the Revolution
10.5.2. Post-modernism, Deconstructivism and Technology
10.5.3. In What Direction is Typography Going?
10.5.4. Typographies that Mark Trends

10.6. The Typographic Form I

10.6.1. Anatomy of Letters
10.6.2. Measurements and Attributes of the Type
10.6.3. Typographic Families
10.6.4. High Box, Low Box and Small Caps
10.6.5. Difference between Typography, Font and Typeface Family
10.6.6. Fillets, Lines and Geometric Elements

10.7. The Typographic Form II

10.7.1. The Typographic Combination
10.7.2. Typeface Formats (PostScript-TrueType-OpenType)
10.7.3. Typographic Licenses
10.7.4. Who Should Buy the License? The Client or the Designer?

10.8. Typographic Correction. The Composition of the Text

10.8.1. Spacing Between Letters. Tracking and Kerning
10.8.2. Space Between Words. Quad
10.8.3. Line Spacing
10.8.4. The Body of the Text
10.8.5. Attribute of the Text

10.9. The Drawing of the Letters

10.9.1. Creative Process
10.9.2. Traditional and Digital Materials
10.9.3. The Use of the Graphic Tablet and the iPad
10.9.4. Digital Typography: Contours and Bitmaps

10.10. Typographic Posters

10.10.1. Calligraphy as a Basis for the Drawing of Letters
10.10.2. How to Create a Typographic Composition that Makes an Impact?
10.10.3. Visual References
10.10.4. Doodle Phase
10.10.5. Project

A unique, key and decisive training experience to boost your professional development”