A high-intensity educational qualification that will enable you to develop in Branding with the solvency of the best professionals in the sector"

This Postgraduate diploma in Branding has been structured to offer an interesting, interactive and, above all, very effective process of specialization in everything related to this sector. To achieve this, a clear and continuous qualification is offered, which is also 100% compatible with other occupations.

Through an exclusive methodology, this Postgraduate diploma will lead you to know all the ways of working in Branding that the professional needs to stay at the forefront and know the changing phenomena of this form of communication.

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

The Postgraduate diploma in Branding 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 Branding"

This Postgraduate diploma in Branding contains the most complete and up-to-date program on the market. 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
• Content that is accessible from any fixed or portable device with an Internet connection

All the necessary knowledge for the graphic designer in this field, compiled in a highly efficient Postgraduate diploma which will optimize your effort with the best results"

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, you will be able to acquire new knowledge in a practical way. In this way, we strive to convert your efforts 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, we put the most interactive digital tools at your service. In this way, we offer a form of learning that is totally adaptable to your needs, so that you can perfectly combine this program with your personal or professional life.

A practical and intensive program that will give you all the tools you need to work in this field, in a specific and concrete Postgraduate diploma"

A training program created to allow you to implement your acquired knowledge into your daily practice in an almost immediate way"

The structure of the contents has been designed by a team of professionals, aware of the current relevance of training in order to advance in the labor market with security and competitiveness, and to practice the profession with the excellence that only the best training allows.

This Postgraduate diploma in Branding contains the most complete and up-to-date program on the market”

Module 1. Introduction to Color 

1.1. Color, Principles and Properties

1.1.1. Introduction to Color 
1.1.2. Light and Color: Chromatic Synaesthesia
1.1.3. Color Attributes 
1.1.4. Pigments and Dyes 

1.2. Colors in the Chromatic Circle

1.2.1. Chromatic Circle 
1.2.2. Cool and Warm Colors 
1.2.3. Primary Colors and Derivatives
1.2.4. Chromatic Relations: Harmony and Contrast

1.3. Color Psychology

1.3.1. Construction of the Meaning of a Color
1.3.2. The Emotional Load
1.3.3. Denotative and Connotative Value
1.3.4. Emotional Marketing The Color Load

1.4. Color Theory

1.4.1. A Scientific Theory Isaac Newton 
1.4.2. Goethe's Color Theory
1.4.3. Joining in Goethe's Color Theory
1.4.4. Color Psychology According to Eva Heller 

1.5. Insisting on Color Classification 

1.5.1. The Double Cone of Guillermo Ostwald 
1.5.2. Albert Munsell's Solid 
1.5.3. The Alfredo Hickethier Cube 
1.5.4. The CIE Triangle (Commission Internationale de l'Eclairage)

1.6. The Individual Study of Colors 

1.6.1. White and Black
1.6.2. Neutral Colors The Grayscale
1.6.3. Monochrome, Duochrome, Polychrome 
1.6.4. Symbolic and Psychological Aspects of Colors

1.7. Color Models

1.7.1. Subtractive Model CMYK Mode
1.7.2. Additive Model RGB Mode 
1.7.3. HSB Model 
1.7.4. Pantone System The Pantone Color System

1.8. From Bauhaus to Murakami 

1.8.1. The Bauhaus and Its Artists 
1.8.2. Gestalt Theory in the Service of Color
1.8.3. Josef Albers The Color Interaction
1.8.4. Murakami, the Connotations of the Absence of Color 

1.9. Color in the Design Project

1.9.1. Pop Art. Color of Cultures
1.9.2. Creativity and Color 
1.9.3. Contemporary Artists 
1.9.4. Analysis from Different Viewpoints and Perspectives

1.10. Color Management in the Digital Environment

1.10.1. Color Spaces
1.10.2. Color Profiles 
1.10.3. Monitor Calibration 
1.10.4. What We Should Consider

Module 2. Corporate Image 

2.1. Identity 

2.1.1. Idea of Identity
2.1.2. Why Is Identity Sought?
2.1.3. Types of Identity
2.1.4. Digital Identity

2.2. Corporate Identity

2.2.1. Definition. Why Have a Corporate Identity?
2.2.2. Factors Influencing Corporate Identity
2.2.3. Corporate Identity Components
2.2.4. Identity Communication
2.2.5. Corporate Identity, Branding, Corporate Image

2.3. Corporate Image

2.3.1. Characteristic of the Corporate Image
2.3.2. What Is the Purpose of Corporate Image?
2.3.3. Types of Corporate Image
2.3.4. Examples:

2.4. Basic Identifying Signs

2.4.1. The Name or Naming
2.4.2. Logos
2.4.3. Monograms

2.5. Identity Memorization Factors

2.5.1. Originality
2.5.2. The Symbolic Value
2.5.3. Impressiveness
2.5.4. Repetition 

2.6. Methodology for the Branding Process

2.6.1. Study of the Sector and Competition
2.6.2. Briefing, Template
2.6.3. Define Brand Strategy and Personality Values
2.6.4. Target Audience

2.7. The Customer

2.7.1. Intuit What the Customer Is Like
2.7.2. Types of Customers
2.7.3. The Meeting Process
2.7.4. The Importance of Knowing the Customer
2.7.5. Establishing the Budget

2.8. Corporate Identity Manual

2.8.1. Construction Standards and Application of the Brand
2.8.2. Corporate Typography
2.8.3. Corporate Colors
2.8.4. Other Graphic Elements
2.8.5. Examples of Corporate Manuals

2.9. Identity Redesign

2.9.1. Reasons to Choose an Identity Redesign
2.9.2. Managing a Change in Corporate Identity
2.9.3. Good Practice Visual References
2.9.4. Malpractice Visual References

2.10. Brand Identity Project

2.10.1. Presentation and Explanation of the Project. Referents
2.10.2. Brainstorming Market Analysis
2.10.3. Target Audience, Brand Value
2.10.4. First Ideas and Sketches. Creative Techniques
2.10.5. Establishment of the Project. Fonts and Colors
2.10.6. Delivery and Correction of Projects

Module 3. Portfolio Building 

3.1. The Portfolio 

3.1.1. The Portfolio as Your Cover Letter
3.1.2. The Importance of a Good portfolio
3.1.3. Orientation and Motivation
3.1.4. Practical Advice

3.2. Characteristics and Elements

3.2.1. The Physical Format
3.2.2. The Digital Format
3.2.3. The Use of Mockups
3.2.4. Common Errors 

3.3. Digital Platforms

3.3.1. Continuous Learning Communities
3.3.2. Social Networks: Twitter, Facebook, Instagram
3.3.3. Professional Networks: LinkedIn, Infojobs
3.3.4. Cloud Portfolios Behance

3.4. The Designer in the Labor Market

3.4.1. Career Opportunities for a Designer
3.4.2. Design Agencies
3.4.3. Corporate Graphic Design
3.4.4. Success Stories

3.5. How Do I Show Myself Professionally?

3.5.1. Keeping Up to Date, in Constant Recycling
3.5.2. The Curriculum Vitae and Its Importance
3.5.3. Common Mistakes in a Curriculum Vitae
3.5.4. How to Create a Good Curriculum Vitae?

3.6. The New Consumers

3.6.1. Perception of Value
3.6.2. Defining the Target Audience
3.6.3. Empathy Map
3.6.4. Personal Relationships

3.7. My Personal Brand

3.7.1. Entrepreneurship The Search for a Purpose
3.7.2. Turn Your Passion into a Job
3.7.3. The Ecosystem Around Your Activity
3.7.4. The Canvas Model

3.8. Visual Identity

3.8.1. Naming 
3.8.2. Values of a Brand
3.8.3. The Major Topics
3.8.4. Moodboard Use of Pinterest
3.8.5. Analysis of Visual Factors
3.8.6. Analysis of Temporal Factors

3.9. Ethics and Responsibility

3.9.1. Ethical Decalogue for the Practice of Design
3.9.2. Copyrights
3.9.3. Design and Conscientious Objection
3.9.4. The “Good” Design

3.10. The Price of My Work

3.10.1. Do You Need Money to Live?
3.10.2. Basic Accounting for Entrepreneurs
3.10.3. Types of Expenses
3.10.4. Your Hourly Rate Retail Price

Module 4. Typography  

4.1. Introduction to Typography 

4.1.1. What Is Typography? 
4.1.2. The Role of Typography in Graphic Design 
4.1.3. Sequence, Contrast, Shape and Counter-Shape
4.1.4. Relationship and Differences between Typography, Calligraphy and Lettering

4.2. The Multiple Origin of Writing

4.2.1. Ideographic Writing
4.2.2. The Phoenician Alphabet 
4.2.3. The Roman Alphabet 
4.2.4. The Carolingian Reform 
4.2.5. The Modern Latin Alphabet 

4.3. The Beginnings of Typography

4.3.1. The Printing Press, a New Era First Typographers
4.3.2. The Industrial Revolution: Lithography
4.3.3. Modernism: The Beginnings of Commercial Typography
4.3.4. The Avant-Gardes 
4.3.5. Interwar Period 

4.4. The Role of Design Schools in Typography

4.4.1. Bauhaus 
4.4.2. Herbert Bayer
4.4.3. Gestalt Psychology 
4.4.4. The Swiss School 

4.5. Current Typography 

4.5.1. 1960-1970, Precursors of the Uprising
4.5.2. Postmodernity, Deconstructivism and Technology
4.5.3. Where Is Typography Heading? 
4.5.4. Trend-Setting Typefaces 

4.6. The Typographic Form I

4.6.1. Letter Anatomy 
4.6.2. Measurements and Attributes of the Type 
4.6.3. Typographic Families 
4.6.4. High Box, Low Box and Small Caps 
4.6.5. Difference between Typography, Font and Typeface Family
4.6.6. Fillets, Lines and Geometric Elements

4.7. The Typographic Form II

4.7.1. The Typographic Combination 
4.7.2. Typographic Font Formats (PostScript-TrueType-OpenType)
4.7.3. Typographic Licenses
4.7.4. Who Should Buy the License, Client or Designer?

4.8. Typographic Correction Text Composition

4.8.1. Space between Letters Tracking and Kerning 
4.8.2. Space between Words The Quad
4.8.3. Line Spacing
4.8.4. The Body of the Letter 
4.8.5. Text Attributes 

4.9. Drawing the Letters

4.9.1. The Creative Process 
4.9.2. Traditional and Digital Materials 
4.9.3. The Use of the Graphics Tablet and the iPad
4.9.4. Digital Typography: Outlines and Bitmaps 

4.10. Typographic Posters

4.10.1. Calligraphy as a Basis for Letter Drawing
4.10.2. How to Create an Impactful Typesetting?
4.10.3. Visual References 
4.10.4. Sketching Phase 
4.10.5. Project

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