An exhaustive and 100% online program, exclusive to TECH, with an international perspective supported by our membership with The Design Society” 

Graphic Design is one of the cornerstones of visual and strategic communication across multiple sectors. For this reason, companies and brands now more than ever require creative professionals capable of transforming ideas into functional, coherent, and visually impactful images. To seize these opportunities, professionals must acquire a significant competitive advantage that sets them apart from other candidates.

With this objective in mind, TECH has developed a pioneering Master's Degree in Graphic Design. Designed by leading experts in the field, the academic pathway delves into the use of modern technological tools such as Adobe Photoshop. In line with this, the syllabus provides students with various techniques to diversify their visual creation processes through the study of color, form, and typography. Additionally, the program offers an in-depth analysis of the major milestones in the history of visual design and their influence on contemporary trends. As a result, graduates will acquire advanced skills to conceptualize, develop, and execute graphic projects from a comprehensive perspective. 

This TECH program also adopts a 100% online methodology, allowing professionals to balance their studies with personal and professional commitments. The content is accessible 24/7 from any device with an internet connection. Moreover, the Relearning system facilitates deep and lasting understanding of key concepts through progressive reinforcement. 

In this way, students can assimilate the material more efficiently and apply it effectively in real-world creative environments. 

Thanks to TECH's membership with The Design Society (DS), students will become part of a global community dedicated to design and its study. They will have access to open-access publications and be able to participate in collaborative events. Additionally, the membership supports the maintenance of the society and its platforms, facilitating interaction and access to specialized resources for professional development in design. 

You will delve into the design of efficient graphic solutions that communicate clear, coherent, and functional messages tailored to diverse audiences” 

This Master's Degree in Graphic Design contains the most complete and up-to-date program on the market. The most important features include:

• The development of practical case studies presented by experts in Graphic Design 
• 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 
• Content that is accessible from any fixed or portable device with an Internet connection 

You will master the use of modern digital tools such as InDesign to significantly enhance the quality of visual creations” 

The faculty includes professionals from the field of Graphic Design, who bring to this program the experience of their professional practice, as well as renowned specialists from leading professional 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 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. 

You will apply the principles of color, form, and typography optimally in highly original graphic initiatives”

The Relearning system applied by TECH in its programs reduces the long hours of study so frequent in other teaching methods”

The teaching content of this Master's Degree has been designed by experts in Graphic Design. As a result, the syllabus will encompass topics ranging from color theory fundamentals to the creation of professional portfolios. In turn, the learning materials will provide essential guidance for mastering cutting-edge software such as Adobe Photoshop. In this regard, the syllabus will explore both the ethical and legal considerations associated with the responsible use of images. As such, graduates will be equipped to develop coherent, creative, and technically sound visual proposals across various formats and media. 

You will integrate sustainable and ethical practices throughout the entire Graphic Design process, promoting the social responsibility of organizations” 

Module 1. Design History 

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 “Design History” 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. Eastern 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? 
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. The Swiss School 

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. The 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 Triangle (International Commission on Illumination) 

2.6. Individual Study of Colors 

2.6.1. White and Black 
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 Mode 
2.7.2. Additive Model. RGB Mode 
2.7.3. HSB Model 
2.7.4. Pantone System. The Pantone Color System 

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 Form 

3.1. The Form 

3.1.1. Definition: What Is Form? 
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 Form. Aesthetics of Functional Form 

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

3.3. The Earliest Graphic Forms 

3.3.1. The Scribble 
3.3.2. Stain Forms 
3.3.3. Dots and Lines 
3.3.4. Awakening Creativity Through Hirameki 
3.3.5. The Form of Haiku 

3.4. Composition of the Form 

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

3.5. The Importance of Proportion in Form 

3.5.1. The 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 Form 

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

3.9. Psychology of Forms 

3.9.1. Circle 
3.9.2. Square 
3.9.3. The Triangle 
3.9.4. Other Forms 

3.10. Introduction to Digital Form 

3.10.1. From Analog to the Digital World 
3.10.2. Positive and Negative Form 
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. The 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 Form 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. Timeline 

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 in the Target 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. Feasibility Study 

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

5.8. Possible Solutions to the 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 Ideation 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 Form 
6.3.4. The Texture 
6.3.5. Space 

6.4. Formal Elements 

6.4.1. Contrast 
6.4.2. The Balance 
6.4.3. The Proportion 
6.4.4. 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. Roles 
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. 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 Mistakes 

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 CVs 
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. The 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. Sequence, Contrast, Form, and Counterform 
10.1.4. Relationship and Differences between Typography, Calligraphy 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. The Swiss School 

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. Font Format Types (PostScript – TrueType – OpenType) 
10.7.3. Typographic Licenses 
10.7.4. Who Should Purchase the License: the Client or the Designer? 

10.8. Typography Proofreading. Text Composition 

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: Outlines 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 

You will understand the historical evolution of Graphic Design and its influence on current creative trends”