You will learn the essential fundamentals of product conceptualization thanks to this program, which will immediately improve your career prospects"

The starting point of a product is its conceptualization. Thus, in this process, technical elements are involved, from the choice of the shape, functionality to the material with which it will be made, and other creative ones, especially with regard to its appearance. Therefore, designing a tool, object or device involves exhaustive planning that guides the entire product manufacturing process, from the original idea to the final result.

This Postgraduate diploma in Conceptual Product Design delves into this process and provides the professional with the latest and most complete knowledge in this field, since its academic itinerary will cover aspects such as the semiotics of objects, materials and supports in design, the properties and dimensions of color or the essential elements of three-dimensional language.

The program is based on an online learning system specially designed to allow students to combine their personal life, including their work, with their studies. Thus, this degree will allow you to study when, how and where you want, since its teaching resources will be available 24 hours a day for you to consult them through a device with an Internet connection.

You will plan precisely and completely, from the first step to the last, the design of your products thanks to the contents provided by this Postgraduate Diploma"

This Postgraduate diploma in Conceptual Product Design contains the most complete and up-to-date educational program on the market. The most important features include:

• The development of practical cases presented by experts in Design Conceptualization 
• The graphic, schematic, and eminently 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 assignmentsv
• Access to content from any fixed or portable device with an Internet connection

TECH online methodology is unique and has been specifically created so that professionals can combine their work with their studies without being subject to schedules or commuting"

The program’s teaching staff includes professionals from sector who contribute their work experience to this training program, as well as renowned specialists from leading societies and prestigious universities.

Its multimedia content, developed with the latest educational technology, will allow the professional a situated and contextual learning, that is, a simulated environment that will provide an immersive training programmed to train in real situations.

This program is designed around Problem Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

Videos, theoretical and practical activities, interactive summaries, etc. The best educational technology is at your fingertips in this Postgraduate diploma

This program puts at your disposal the best multimedia contents for you to deepen in the conceptualization of your own designs"

This Postgraduate diploma in Conceptual Product Design is an overview program that addresses the issue of planning and executing the design of a given product. Thus, all its contents are focused on achieving this goal, but the 4 modules that make up the degree are based on different perspectives. In this way, the professional will first address the important issue of mastering the essential fundamentals of design, and then delve into graphic techniques, color and volume and space. With this knowledge you will have prepared yourself to improve your profile as a product designer.

The most complete syllabus in Conceptual Product Design is now within your reach. Don't miss the opportunity"

Module 1. Design Fundamentals

1.1. Design History

1.1.1. Industrial Revolution
1.1.2. The Stages of Design
1.1.3. Architecture
1.1.4. The Chicago School

1.2. Design Styles and Movements

1.2.1. Decorative Design
1.2.2. Modernist Movement
1.2.3. Art Deco
1.2.4. Industrial Design
1.2.5. Bauhaus
1.2.6. World War II
1.2.7. Transvanguardias

1.3. Designers and Trends

1.3.1. Interior Designers
1.3.2. Graphic Designers
1.3.3. Industrial or Product Designers
1.3.4. Fashion Designers

1.4. Design Methodology

1.4.1. Bruno Munari
1.4.2. Gui Bonsiepe
1.4.3. J. Christopher Jones
1.4.4. L. Bruce Archer
1.4.5. Guillermo González Ruiz
1.4.6. Jorge Frascara
1.4.7. Bernd Löbach
1.4.8. Joan Costa
1.4.9. Norberto Cháves

1.5. Language in Design

1.5.1. Objects and the Subject
1.5.2. Semiotics of Objects
1.5.3. The Object Layout and its Connotation
1.5.4. Globalization of Signs
1.5.5. Proposa

1.6. Design and its Aesthetic-Formal Dimension

1.6.1. Visual Elements

1.6.1.1. The Shape
1.6.1.2. The Measure
1.6.1.3. Color
1.6.1.4. Texture

1.6.2. Relationship Elements

1.6.2.1. Management
1.6.2.2. Position
1.6.2.3. Spatial
1.6.2.4. Severity

1.6.3. Practical Elements

1.6.3.1. Representation
1.6.3.2. Meaning
1.6.3.3. Function

1.6.4. Frame of reference

1.7. Analytical Design Methods

1.7.1. Pragmatic Design
1.7.2. Analog Design
1.7.3. Iconic Design
1.7.4. Canonical Design
1.7.5. Main Authors and Their Methodology

1.8. Design and Semantics

1.8.1. Semantics
1.8.2. The Significance
1.8.3. Denotative Meaning and Connotative Meaning
1.8.4. Lexicon
1.8.5. Lexical Field and Lexical Family
1.8.6. Semantic Relationships
1.8.7. Semantic Change
1.8.8. Causes of Semantic Changes

1.9. Design and Pragmatics

1.9.1. Practical Implications, Abduction and Semiotics
1.9.2. Mediation, Body and Emotions
1.9.3. Learning, Experiencing and Closing
1.9.4. Identity, Social Relations and Objects

1.10. Current Design Context

1.10.1. Current Design Issues
1.10.2. Current Design Issues
1.10.3. Contributions on Methodology

Module 2. Drawing and graphic techniques

2.1. History of Drawing

2.1.1. The Origin of Drawing
2.1.2. The First Drawings
2.1.3. Egyptian Era
2.1.4. Greek Culture
2.1.5. Middle Ages
2.1.6. The Renaissance
2.1.7. Modern Era

2.1.7.1. Futurism
2.1.7.2. Cubism
2.1.7.3. Expressionism
2.1.7.4. Surrealism

2.1.8. Digital Art

2.2. Materials and Supports

2.2.1. Traditional Materials
2.2.2. Non-Traditional Materials
2.2.3. Drawing Materials
2.2.4. Industrial Materials
2.2.5. Alternative Materials
2.2.6. Drawing Supports

2.3. Relationship of Art and Drawing

2.3.1. Painting
2.3.2. Sculpture
2.3.3. Music
2.3.4. Dance
2.3.5. Literature
2.3.6. Cinema

2.4. The Basic Elements of Drawing

2.4.1. The Line and the Dot
2.4.2. The Shape
2.4.3. Light and Shadow
2.4.4. Volume
2.4.5. The Proportion
2.4.6. The Outlook
2.4.7. Texture
2.4.8. Color

2.5. Drawing Classification

2.5.1. Artistic Drawing
2.5.2. Technical Drawing
2.5.3. Geometric Drawing
2.5.4. Mechanical Drawing
2.5.5. Architectural Drawing
2.5.6. Cartoon
2.5.7. Freehand Drawing

2.6. Fit,Proportion, Chiaroscuro, Composition & Color

2.6.1. Lace
2.6.2. Proportion
2.6.3. Chiaroscuro
2.6.4. Composition
2.6.5. Color

2.7. Form Analysis I: Flat Vision

2.7.1. The Outlook
2.7.2. Hierarchical Perspective
2.7.3. Military Perspective
2.7.4. Perspective from a Gentleman's Perspectivet
2.7.5. Axonometric Perspective
2.7.6. Conical Perspective

2.8. Form Analysis II. Three-Dimensional Vision

2.8.1. Monocular Three-Dimensionality: The Flat Image
2.8.2. Efficacy of Monocularity
2.8.3. Stereopsis
2.8.4. Simulation and Measurement of Stereopsis

2.9. Expression and Representation Techniques in the Design Process

2.9.1. Mental Map
2.9.2. Graphic Reports
2.9.3. Illustration
2.9.4. Comic Book
2.9.5. Storyboards

2.10. The Importance of Drawing for the Human Being

2.10.1. Freedom of Thought and Expression
2.10.2. Communication Skills
2.10.3. Artistic Sensitivity
2.10.4. Invention, Imagination and Creativity

Module 3. Color and Shape

3.1. Color Theory

           3.1.1. Perception of Form and Space
           3.1.2. Color. Definition
           3.1.3. Color Perception
           3.1.4. Color Properties or Dimensions
           3.1.5. Color Classification

3.2. Color Perception

3.2.1. The Human Eye
3.2.2. Color Vision
3.2.3. Variables in Color Perception
3.2.4. Non-Visual Color Perception

3.3. Color Modeling and Standardization

3.3.1. History of Color

    3.3.1.1. First Theories
    3.3.1.2. Leonardo Da Vinci
    3.3.1.3. Isaac Newton
    3.3.1.4. Moses Harris
    3.3.1.5. Goethe
    3.3.1.6. Runge
    3.3.1.7. Chevreul
    3.3.1.8. Rood
    3.3.1.9. Munsell
    3.3.1.10. Ostwald

3.3.2. Visual Perception

    3.3.2.1. Absorption and Reflection
    3.3.2.2. Pigment Molecules

3.3.3. Color Attributes

    3.3.3.1. Tone
    3.3.3.2. Luminance
    3.3.3.3. Saturation

3.3.4. Warm and Cool Colors
3.3.5. Harmony in Colors
3.3.6. Contrast
3.3.7. Color Effects

    3.3.7.1. Size
    3.3.7.2. Transparency, Weight and Massv

3.4. Semiotics and Semantics of color

3.4.1. Semiotics of Color
3.4.2. Color Description
3.4.3. Colors: Material, Light, Perceptions, Sensations.
3.4.4. Color and Material
3.4.5. The Truth of a Color
3.4.6. Color Perception
3.4.7. The Weight of a Color
3.4.8. The Color Dictionary

3.5. Color in Design

3.5.1. Chromatic Trends
3.5.2. Graphic Design
3.5.3. Interior Design
3.5.4. Architecture
3.5.5. Landscape Design
3.5.6. Fashion Design

3.6. Composition

3.6.1. General Aspects

    3.6.1.1. Codes Used
    3.6.1.2. Originality and Banality
    3.6.1.3. Degree of Iconicity and Abstraction

3.6.2. Configurational Organization of the Image: Relation between Background and Figure
3.6.3. Configurational Organization of the Image: Gestalt Laws
3.6.4. Configurational Organization of the Image: Systems of Spatial Organization

    3.6.4.1. Balance: Static or Dynamic. Focal or Orthogonal System
    3.6.4.2. Proportion
    3.6.4.3. Symmetry
    3.6.4.4. Movement and Rhythm

3.6.5. Field Study

3.7. Image Functions

3.7.1. Representative

    3.7.1.1. Cartographic
    3.7.1.2. Scientist
    3.7.1.3. Architectural
    3.7.1.4. Projectua

3.7.2. Persuasive
3.7.3. Artistic

3.8. Color Psychology

3.8.1. Warm Colors and Cool Colors
3.8.2. Physiological Effects
3.8.3. Color Symbolism
3.8.4. Personal Color Preferences
3.8.5. Emotional Effects
3.8.6. Local Color and Expressive

3.9. The Meaning of Color

3.9.1. Blue
3.9.2. Red
3.9.3. Yellow
3.9.4. Green
3.9.5. Black
3.9.6. White
3.9.7. Orange
3.9.8. Violet
3.9.9. Pink
3.9.10. Gold
3.9.11. Silver
3.9.12. Brown
3.9.13. Gray

3.10. Color Use

3.10.1. Sources of Dyes and Pigments
3.10.2. Lighting
3.10.3. Mixture of Oils and Acrylics
3.10.4. Glazed Ceramics
3.10.5. Colored Glass
3.10.6. Color Printing
3.10.7. Color Photography

Module 4. Volume and space

4.1. Basic Elements of Three-Dimensional Language

4.1.1. Origin and Chronology of Three-Dimensional Design
4.1.2. Definition of Three-Dimensional Design
4.1.3. Elements of Three-Dimensional Design
4.1.4. Three-Dimensional Design Methodology
4.1.5. The Operation in Fundamentals of Design
4.1.6. Models, Mock-Ups and Prototypes

4.2. Materials and Processes

4.2.1. Materials

    4.2.1.1. Stone
    4.2.1.2. Metal
    4.2.1.3. La madera
    4.2.1.4. Mud
    4.2.1.5. Clay

4.2.2. Processes

    4.2.2.1. Making a Slab
    4.2.2.2. Churros Method
    4.2.2.3. Cube

4.2.3. Workshop

4.3. Transformation and Creation of Space

4.3.1. From Plan to Volume
4.3.2. Sculpture from the Plane

    4.3.2.1. Topography

        4.3.2.1.1. Hollow Relief
        4.3.2.1.2. Low Relief
        4.3.2.1.3. Medium Relief
        4.3.2.1.4. High Relief
        4.3.2.1.5. Half Bulk

    4.3.2.2. Collage and Assemblage
    4.3.2.3. Creation of a Sculpture

4.3.3. Two-Dimensionality and Three-Dimensionality

    4.3.3.1. The Trompe L'oeil

4.3.4. Matrix Artists
4.3.5. Painting as Sculpture

4.4.     Three-Dimensional Configuration Systems

4.4.1. Structure
4.4.2. The Structure as a Support

    4.4.2.1. Structures Designed to Support
    4.4.2.2. Structures and Balance

4.4.3. Structure as a Compositional Basis

    4.4.3.1. Geometry as a Structure or Compositional Basis
    4.4.3.2. Hierarchical Zone Structures
    4.4.3.3. Hierarchical Structures by Size and Ratio
    4.4.3.4. Gestural and Material Structures Determined by Sensibility
    4.4.3.5. The Structure of the Whole

4.4.4. Mental Visualization of the Structures
4.4.5. Form and Function

    4.4.5.1. Predominance of Form or Function

        4.4.5.1.1. Luxury and Appearance

    4.4.5.2. Shapes in Nature

        4.4.5.2.1. Biomorphic Forms
        4.4.5.2.2. Geometric Shapes
        4.4.5.2.3. Natural Forms

    4.4.5.3. Industrial Forms

        4.4.5.3.1. The Revisable Form
        4.4.5.3.2. Antiques

    4.4.5.4. Relationship of Humans to Form and Function

4.5. Additive Techniques

4.5.1. Modeling
4.5.2. Modeling Typologies
4.5.3. Mold Creation

4.6. Subtractive Techniques

4.6.1. The Carving
4.6.2. Materials and Tools
4.6.3. Milling Process
4.6.4. Featured Artists

4.7. Construction Techniques

4.7.1. Assembly and Spatial Configurations
4.7.2. Materials
4.7.3. Typology
4.7.4. Features
4.7.5. Featured Artists

4.8. Molding Techniques

4.8.1. Molding and Casting
4.8.2. Technique
4.8.3. Procedure
4.8.4. Typology
4.8.5. Materials
4.8.6. Tools
4.8.7. Parts and Elements
4.8.8. The Starting Course and Couplings
4.8.9. Types of Mold Systems

4.9. New Technologiesv

4.9.1. Evolution of the Three-Dimensional Form
4.9.2. New Techniques and Materials

    4.9.2.1. Plastic
    4.9.2.2. Concrete
    4.9.2.3. Light Sculptures
    4.9.2.4. Bioart
    4.9.2.5. Video and Virtual Space

4.9.3. 3D Printing

4.10. Project Communication

4.10.1. Large Spaces. Land art
4.10.2. Installations
4.10.3. Happenings y Performances
4.10.4. The movement. Kinetic sculptures

This curriculum will improve your career and salary prospects quickly thanks to its fresh insights and panoramic approach"