Learn how to turn ideas into multimedia projects of impact and notoriety with the most up to date knowledge of this sector in a convenient and flexible Master's Degree"

Through an exclusive methodology, this Master's Degree will take you into 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 window to very interesting possibilities and explorable paths. 

Therefore, this program will address the aspects that a designer needs to know to plan, develop and finalize any audiovisual project. An educational path that will scale the student's skills to help them achieve the challenges of a top professional.

Multimedia 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 of professional development that will benefit from the specific knowledge that we now make available to you in this program.

This program will allow you to enhance your skills and update your knowledge in Multimedia Design"

This Master's Degree in Multimedia Design contains the most complete and up to date educational program on the university scene. The most important features of the program include:

• Development of 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
• Availability of content from any fixed or portable device with internet connection

A complete and up to date Master's Degree that will allow you to know all the tools you need to develop multimedia projects, with a clear vision in the practical learning of its use”

The development of this program is focused on practicing the proposed theoretical learning Through the most effective teaching systems, proven methods imported from the most prestigious universities in the world, the student will be able to acquire new knowledge in an eminently practical way. In this way, TECH strives to convert effort into real and immediate skills.

The online system is another of the strengths of the educational program. With an interactive platform that has the advantages of the latest technological developments, the most interactive digital tools are made available. In this way, it is possible to offer a way of learning that is totally adaptable to your needs, so that you can perfectly combine this program with your personal or working life.

Boost your profession by incorporating the professional's perspective, through a complete program designed to teach you how to turn ideas into projects"

A program created to allow you to implement the acquired knowledge almost immediately in your daily practice"

In this Master's Degree, you will find all the theoretical and practical content you need to address each of the situations that the development of multimedia projects requires from the professional. With the study of the most appropriate tools and techniques for each project, you will be given a boost that will turn creativity into monetizable and appreciable realities for any company in the sector.

A complete journey of professional growth that will bring you up to date on everything the Multimedia Design professional needs to master to excel in their profession"

Module 1. Audiovisual Culture

1.1. Postmodernity in the Audiovisual Sector

1.1.1. What Is Postmodernity?
1.1.2. Mass Culture in the Postmodern Era
1.1.3. The Irruption of Argumentative Discourse
1.1.4. The Culture of Simulacrum

1.2. Semiotics: Symbols in Audiovisual Culture

1.2.1. What Is Semiotics?
1.2.2. Semiotics or Semiology?
1.2.3. Semiotic Codes
1.2.4. Visual Motifs

1.3. Learning to Look

1.3.1. Image and Context
1.3.2. The Ethnographic Perspective
1.3.3. Photography as a Crossroads of Perspectives
1.3.4. Visual Anthropology    

1.4. Image Composition

1.4.1. Notes        
1.4.2. Dynamic Balance
1.4.3. Weight and Visual Direction
1.4.4. Basic Rules        

1.5. Aesthetics in Audiovisuals

1.5.1. What Is Aesthetics?        
1.5.2. Aesthetic Categories
1.5.3. The Grotesque and the Abject    
1.5.4. Kitsch and Camp    

1.6. New and Renewed Audiovisual Forms

1.6.1. Viral Video Art    
1.6.2. Big Data as an Artistic Practice
1.6.3. Video Mapping    
1.6.4. The VJs    

1.7. Intertextuality as a Creative Strategy

1.7.1. What Is Intertextuality?    
1.7.2. Quotation    
1.7.3. Allusion    
1.7.4. Plagiarism    
1.7.5. Appropriationism    
1.7.6. Self-Referentiality
1.7.7. Parody    

1.8. Dialogue between the Arts

1.8.1. Intermediality    
1.8.2. The Hybridization of the Arts
1.8.3. Classicism and the Separation of the Arts
1.8.4. Romanticism and the Definitive Union of the Arts
1.8.5. The Total Art in the Avant-Garde
1.8.6. Transmedia Narratives    

1.9. The New Cinema

1.9.1. The Relationship between Cinema, Culture and History
1.9.2. An (Im)Predictable Technological Evolution
1.9.3. Cinema Is Dead!        
1.9.4. Expanded Cinema    

1.10. The Rise of the Documentary Film

1.10.1. The Documentary Film    
1.10.2. Objectivity Strategies
1.10.3. The Rise of the Mockumentary
1.10.4. Found Footage

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 Dyes    

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 Derivatives
2.2.4. Chromatic Relations: Harmony and Contrast

2.3. Color Psychology

2.3.1. Construction of the Meaning of a Color
2.3.2. The Emotional Load
2.3.3. Denotative and Connotative Value
2.3.4. Emotional Marketing The Color Load

2.4. Color Theory

2.4.1. A Scientific Theory Isaac Newton    
2.4.2. Goethe's Color Theory
2.4.3. Joining in Goethe's Color Theory
2.4.4. Color Psychology According to Eva Heller    

2.5. Insisting on Color Classification    

2.5.1. The Double Cone of Guillermo Ostwald    
2.5.2. Albert Munsell's Solid    
2.5.3. The Alfredo Hickethier Cube    
2.5.4. The CIE Triangle (Commission Internationale de l'Eclairage)

2.6. The Individual Study of Colors    

2.6.1. White and Black
2.6.2. Neutral Colors The Grayscale
2.6.3. Monochrome, Duochrome, 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. The Bauhaus and Its Artists        
2.8.2. Gestalt Theory in the Service of Color
2.8.3. Josef Albers The Color Interaction
2.8.4. Murakami, the Connotations of the Absence of Color        

2.9. Color in the Design Project

2.9.1. Pop Art. Color of Cultures
2.9.2. Creativity and Color    
2.9.3. Contemporary Artists    
2.9.4. Analysis from Different Viewpoints 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. Audiovisual Language            

3.1. Audiovisual Language    

3.1.1. Definition and Structure    
3.1.2. The Functions of Audiovisual Language
3.1.3. The Symbols of Audiovisual Language
3.1.4. History, Sequence, Scene, Shot and Frame

3.2. Camera and the Sound

3.2.1. Basic Concepts    
3.2.2. Camera Lenses        
3.2.3. The Importance of Sound        
3.2.4. Complementary Materials    

3.3. The Composition of the Frame    

3.3.1. Frame Perception    
3.3.2. The Gestalt Theory    
3.3.3. Principles of Composition        
3.3.4. Lighting
3.3.5. Assessing Shades    

3.4. The Space    

3.4.1. The Film Space        
3.4.2. On-Screen and Off-Screen        
3.4.3. Types of Spaces        
3.4.4. The No-Spaces

3.5. The Weather    

3.5.1. The Filming Time        
3.5.2. The Sense of Continuity    
3.5.3. Changes in Time: Flashback and Flashforward

3.6. Dynamic Printing    

3.6.1. The Rhythm        
3.6.2. The Assembly as a Marker of Rhythm
3.6.3. The Origins of Assembly and Its Relationship to Modern Life

3.7. The Movement    

3.7.1. Types of Movement    
3.7.2. Camera Movements
3.7.3. Accessories    

3.8. Film Grammar

3.8.1. The Audiovisual Process The Scale
3.8.2. The Shot    
3.8.3. Types of Shots    
3.8.4. Types of Shots According to the Angle

3.9. The Dramatization of the Plot

3.9.1. Script Structure    
3.9.2. History, Argument and Style    
3.9.3. The Syd Field Paradigm        
3.9.4. Types of Narrators    

3.10. Character Building

3.10.1. The Character in Today's Narrative    
3.10.2. The Hero According to Joseph Campbell
3.10.3. The Post-Classical Hero    
3.10.4. Robert McKee's 10 Commandments
3.10.5. Character Transformation
3.10.6. Anagnorisis                    

Module 4. Motion Graphics            

4.1. Introduction to Motion Graphics

4.1.1. What Is a Motion Graphic?
4.1.2. Function    
4.1.3. Features
4.1.4. Techniques of Motion Graphics    

4.2. Cartooning

4.2.1. What Is It?            
4.2.2. Basic Principles of Cartooning
4.2.3. Volumetric vs. Graphic Design
4.2.4. References

4.3. Character Design Throughout History

4.3.1. The 20s: Rubber House
4.3.2. The 40s: Preston Blair        
4.3.3. The 50s and 60s: Cubism Cartoon    
4.3.4. Complementary Characters    

4.4. Introduction to Character Animation in After Effects

4.4.1. Animation Method    
4.4.2. Vector Movement    
4.4.3. Animated Principles    
4.4.4. Timing        

4.5. Project: Character Animation

4.5.1. Ideas Generation    
4.5.2. Storyboard    
4.5.3. First Phase in Character Design
4.5.4. Second Phase in Character Design

4.6. Project: Layout Development

4.6.1. What Do We Understand by Layout ?    
4.6.2. First Steps in Layout Development
4.6.3. Consolidating Layouts     
4.6.4. Creating theAnimatic

4.7. Project: Visual Development of the Character

4.7.1. Visual Development of the Character
4.7.2. Visual Development of the Background    
4.7.3. Visual Development of the Extra Elements
4.7.4. Corrections and Adjustments

4.8. Project: Scene Development

4.8.1. Creating Sketches    
4.8.2. Styleframes    
4.8.3. Prepare Designs for Animation
4.8.4. Corrections        

4.9. Project: Animation I    

4.9.1. Scene Configuration    
4.9.2. First Movements    
4.9.3. Fluidity of Movement
4.9.4. Visual Corrections    

4.10. Project: Animation II

4.10.1. Animating the Character's Face
4.10.2. Considering Facial Expressions
4.10.3. Animating Actions    
4.10.4. Action of Walking    
4.10.5. Submission of Proposals

Module 5. Design for Television                

5.1. The Television World

5.1.1. How Does Television Influence Our Lifestyle?
5.1.2. Some Scientific Data
5.1.3. Graphic Design in Television
5.1.4. Design Guidelines for Television

5.2. Television Effects

5.2.1. Learning Effects
5.2.2. Emotional Effects
5.2.3. Answer Effects
5.2.4. Behavioral Effects

5.3. Television and Consumption

5.3.1. Television Advertising Consumption
5.3.2. Measures for Critical Consumption
5.3.3. Viewers' Associations
5.3.4. New Platforms in Television Consumption

5.4. Television Identity

5.4.1. Talk about Television Identity
5.4.2. Identity Functions in Television Media
5.4.3. TV Branding
5.4.4. Graphical Examples

5.5. Screen Design Specifications

5.5.1. General Specifications
5.5.2. Security Area
5.5.3. Optimization
5.5.4. Text Considerations
5.5.5. Image and Graphics

5.6. Adobe After Effects: Getting to Know the Interface

5.6.1. What Is This Program For?
5.6.2. Interface and Workspace
5.6.3. Main Tools
5.6.4. Create Compositions, Save File and Render

5.7. Adobe After Effects: First Animations

5.7.1. Layers
5.7.2. Keyframes Keyframes
5.7.3. Animation Examples
5.7.4. Speed Curves

5.8. Adobe After Effects: Text Animations and Backgrounds

5.8.1. Creating Screens to Animate
5.8.2. Screen Animation: First Steps
5.8.3. Screen Animation: Getting to Know the Tools
5.8.4. Editing and Rendering

5.9. Sound in Audiovisual Production

5.9.1. Audio is Important
5.9.2. Basic Principles of Sound
5.9.3. Working with Sound in Adobe After Effects
5.9.4. Exporting Sound in Adobe After Effects

5.10. Creating a Project in Adobe After Effects

5.10.1. Visual References
5.10.2. Project Characteristics
5.10.3. Ideas, What Do I Want to Do?
5.10.4. Making My Audiovisual Project

Module 6. 2D Animation

6.1. Introduction to 2D Animation

6.1.1. What Is 2D Animation?
6.1.2. Origin and Evolution of 2D
6.1.3. Traditional Animation
6.1.4. Projects Carried out in 2D

6.2. Principles of Animation I

6.2.1. Context
6.2.2. Squash and Stretch
6.2.3. Anticipation
6.2.4. Staging

6.3. Principles of Animation II

6.3.1. Straight Ahead Action and Pose to Pose
6.3.2. Follow Through and Overlapping Action
6.3.3. Slow In and Slow Out    
6.3.4. Arcs    
6.3.5. Secondary Action        

6.4. Principles of Animation III    

6.4.1. Timing        
6.4.2. Exaggeration    
6.4.3. Solid Drawing    
6.4.4. Appeal        

6.5. Digital Animation    

6.5.1. Digital Key Animation and Interpolation
6.5.2. Cartoon Animation vs. Virtual Characters
6.5.3. Digital Animation with Nesting and Logic
6.5.4. Emergence of New Animation Techniques

6.6. Team Animation Roles

6.6.1. Animation Director    
6.6.2. Animation Supervisor        
6.6.3. The Animator    
6.6.4. The Assistant and the Interleaver    

6.7. 2D Animated Short Films References    

6.7.1. Paperman            
6.7.2. Morning Cowboy    
6.7.3. My Moon    
6.7.4. Practice I: In Search of Short Films    

6.8. Animation Project: Build Your City

6.8.1. Initiation: 3D Tool in Illustrator
6.8.2. Choice of Typeface    
6.8.3. Development of the City    
6.8.4. Construction of Secondary Elements
6.8.5. The Cars    

6.9. Animation Project: Animating Elements

6.9.1. Exporting to Adobe After Effects
6.9.2. Animating Main Elements
6.9.3. Animating Secondary Elements
6.9.4. Final Animation        

6.10. Adapt to New Screens End of Project

6.10.1. Innovative Screens    
6.10.2. Render        
6.10.3. Handbrake        
6.10.4. Introduction        

Module 7. Animation Projects            

7.1. Introduction to Stop Motion        

7.1.1. Definition of Concept    
7.1.2. Differences between Stop Motion and Cartoons
7.1.3. Stop Motion Uses and Principles
7.1.4. Types of Stop Motion    

7.2. Historical Context    

7.2.1. The Start of Stop Motion    
7.2.2. Stop Motion as a Visual Effects Technique
7.2.3. The Evolution of Stop Motion        
7.2.4. Bibliographical References        

7.3. Thinking of Animation        

7.3.1. Basic Animation Concepts
7.3.2. Materials and Tools        
7.3.3. Stop Motion Animation Software
7.3.4. Stop Motion Studio for Cell Phones    

7.4. Technical Aspects of Stop Motion

7.4.1. The Camera        
7.4.2. Lighting    
7.4.3. Editing        
7.4.4. Editing Programs    

7.5. Creating Stories    

7.5.1. How to Create a Story?        
7.5.2. Elements in the Narrative
7.5.3. Figure of the Narrator    
7.5.4. Tips for Creating Short Stories

7.6. Creating Characters    

7.6.1. The Creative Process    
7.6.2. Types of Characters    
7.6.3. Character Sheet    
7.6.4. Practice I: Create a Character Sheet

7.7. The Creation of Stop Motion Puppets

7.7.1. Storytelling with Puppets
7.7.2. Granting Characteristics    
7.7.3. Materials        
7.7.4. Visual References    

7.8. Creating Scenes    

7.8.1. Scenography    
7.8.2. The Importance of a Good Scene
7.8.3. Budget Delimitation
7.8.4. Visual References    

7.9. Animation in Stop Motion    

7.9.1. Object Animation    
7.9.2. Cutout Animation
7.9.3. Silhouettes    
7.9.4. Shadow Theater    

7.10. Stop Motion Project         

7.10.1. Presentation and Explanation of the Project
7.10.2. Search for Ideas and References
7.10.3. Preparing Our Project    
7.10.4. Analysis of Results    

Module 8. 3D Modeling                

8.1. 3D in Video Games: Why Is It Important?

8.1.1. History of Computer-Generated 3D
8.1.2. Implementation of 3D in Video Games
8.1.3. Techniques for 3D Optimization in Video Games
8.1.4. Interaction Between Graphic Software and Game Engines

8.2. 3D Modeling: Maya

8.2.1. Maya’s Philosophy
8.2.2. Capabilities of Maya
8.2.3. Projects Created with Autodesk Maya
8.2.4. Introduction to Modeling, Rigging, and Texturing Tools

8.3. 3D Modeling: Blender

8.3.1. Blender’s Philosophy
8.3.2. Past, Present, and Future
8.3.3. Projects Created with Blender
8.3.4. Blender Cloud
8.3.5. Introduction to Modeling, Rigging, and Texturing Tools

8.4. 3D Modeling: ZBrush

8.4.1. ZBrush’s Philosophy
8.4.2. Integration of ZBrush in a Production Pipeline
8.4.3. Advantages and Disadvantages Compared to Blender
8.4.4. Analysis of Designs Created in ZBrush

8.5. 3D Texturing: Substance Designer

8.5.1. Introduction to Substance Designer
8.5.2. Substance Designer’s Philosophy
8.5.3. Substance Designer in Video Game Production
8.5.4. Interaction Between Substance Designer and Substance Painter

8.6. 3D Texturing: Substance Painter

8.6.1. What Is Substance Painter Used For?
8.6.2. Standardization of Substance Painter
8.6.3. Stylized Texturing with Substance Painter
8.6.4. Realistic Texturing with Substance Painter
8.6.5. Analysis of Textured Models

8.7. 3D Texturing: Substance Alchemist

8.7.1. What Is Substance Alchemist?
8.7.2. Substance Alchemist Workflow
8.7.3. Alternatives to Substance Alchemist
8.7.4. Project Examples

8.8. Rendering: Texture Mapping and Baking

8.8.1. Introduction to Texture Mapping
8.8.2. UV Mapping
8.8.3. UV Optimization
8.8.4. UDIMs
8.8.5. Integration with Texturing Software

8.9. Rendering: Advanced Lighting

8.9.1. Lighting Techniques
8.9.2. Contrast Balancing
8.9.3. Color Balancing
8.9.4. Lighting in Video Games
8.9.5. Resource Optimization
8.9.6. Pre-Rendered vs Real-Time Lighting

8.10. Rendering: Scenes, Render Layers, and Passes

8.10.1. Using Scenes
8.10.2. Utility of Render Layers
8.10.3. Utility of Passes
8.10.4. Integration of Passes in Photoshop   

Module 9. Digital Photography        

9.1. Introduction to the Contemporary Photographic Medium

9.1.1. Origins of Photography: The Camera Obscura
9.1.2. Fixing Images Milestones: The Daguerreotype and the Calotype
9.1.3. Pinhole Camera        
9.1.4. The Photographic Snapshot Kodak and the Popularization of the Medium

9.2. Principles of Digital Photography

9.2.1. Street Photography: Photography as a Social Mirror
9.2.2. Digital Image Fundamentals
9.2.3. JPG and RAW
9.2.4. Digital Laboratory

9.3. Concepts, Equipment and Photography Techniques

9.3.1. Camera: Visual Angle and Lenses    
9.3.2. Exposure Meter Exposure Adjustment    
9.3.3. Image Control Elements    
9.3.4. Practice I: Controlling the Camera    

9.4. Lighting

9.4.1. Natural Light and Its Importance    
9.4.2. Properties of Light
9.4.3. Continuous Light and Modeling Light        
9.4.4. Lighting Schemes    
9.4.5. Accesories to Manipulate Light    
9.4.6. Backgrounds Commercial Tools

9.5. Flash

9.5.1. Main Functions of a Flash Unit    
9.5.2. Types of Flash
9.5.3. Torch Flash    
9.5.4. Advantages and Disadvantages    

9.6. Photography with Professional Camera    

9.6.1. Lifestyle Photography Searching for Corners
9.6.2. Practice II: Light Effects    
9.6.3. Practice III Negative Spaces    
9.6.4. Practice IV: Capture Emotion    

9.7. Mobile Photography: Introduction

9.7.1. Our Pocket Camera and Other Materials
9.7.2. Achieving the Best Quality    
9.7.3. Composition Tricks    
9.7.4. Creating Ambience    

9.8. Mobile Photography: Project    

9.8.1. Flatlay    
9.8.2. Indoor Photography    
9.8.3. Creative Ideas Where to Start?    
9.8.4. Practice VI: First Photographs    

9.9. Mobile Photography: Editing

9.9.1. Editing Photos with Snapseed    
9.9.2. Editing Photos with VSCO    
9.9.3. Editing Photos with Instagram    
9.9.4. Practice IV: Editing Your Photographs        

9.10. The Creative Photography Project

9.10.1. Reference Authors in Contemporary Photographic Creation
9.10.2. The Photographic Portfolio    
9.10.3. Visual Portfolio References    
9.10.4. Build Your Results Portfolio        

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, Shape and Counter-Shape
10.1.4. Relationship and Differences between Typography, Calligraphy and Lettering

10.2. The Multiple Origin 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 Typographers
10.3.2. The Industrial Revolution: Lithography
10.3.3. Modernism: The Beginnings of Commercial Typography
10.3.4. The Avant-Gardes    
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 of the Uprising
10.5.2. Postmodernity, Deconstructivism and Technology
10.5.3. Where Is Typography Heading?        
10.5.4. Trend-Setting Typefaces    

10.6. The Typographic Form I

10.6.1. Letter Anatomy    
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. Typographic Font Formats (PostScript-TrueType-OpenType)
10.7.3. Typographic Licenses
10.7.4. Who Should Buy the License, Client or Designer?

10.8. Typographic Correction Text Composition

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

10.9. Drawing the Letters

10.9.1. The Creative Process    
10.9.2. Traditional and Digital Materials    
10.9.3. The Use of the Graphics Tablet and the Ipad
10.9.4. Digital Typography: Outlines and Bitmaps    

10.10. Typographic Posters

10.10.1. Calligraphy as a Basis for Letter Drawing
10.10.2. How to Create an Impactful Typesetting?
10.10.3. Visual References    
10.10.4. Sketching Phase    
10.10.5. Project

An opportunity created for professionals who are looking for an intensive and effective course with which to take a significant step in their profession”