Take a decisive step forward in your design career and specialize in the packaging sector, learning the ins and outs of a growing industry from successful professionals" 

Since industrialization, the concept of branding and packaging have inevitably gone hand in hand. Everyone is able to recognize the shape of the bottle of the most prestigious brands, but the iconic status really comes when they combine it their branding and achieve an exceptional fusion of packaging and style. Designers are the heart and soul of this whole process, because nowadays it is unthinkable to launch a product to the market without a good packaging and branding analysis to accompany it.

That is why it is no longer enough for designers to simply have basic knowledge of the general aspects of a commercial brand, they must also continue to deepen their knowledge and guide their career towards the most effective specialization. This Advanced Master’s Degree in Packaging Design, Branding Expert gives designers the opportunity to delve into a growing professional field. By understanding not only the basic principles of packaging, but also the most important keys to the creative industry, you will gain a competitive advantage over other candidates when applying to join the most ambitious design teams or even lead your own projects.

Throughout the program, the designer will explore the current role of corporations, the evolution of packaging throughout history, the most innovative branding and the most effective work methodology to significantly expand its projection both professionally and economically. All of this is backed by a high quality teaching team, made up of experts in the different creative, business and artistic disciplines that are necessary to successfully work in this field of design.

In addition, the designer will benefit from the 100% online format of the program, without being limited by on-site classes or pre-fixed schedules. On the contrary, all the content is available digitally and can even be downloaded for further study from a tablet, computer or smartphone. It provides unique flexibility that allows you to continue improving and advancing in the design, without neglecting the most important professional and personal facets.

Make a difference in your industry with in-depth knowledge of typography, creative branding, innovative packaging and the most advanced Adobe Illustrator techniques" 

This Advanced Master's Degree in Packaging Design, Branding Expert contains the most complete and up-to-date scientific program on the market. The most important features include:

• The development of case studies presented by experts in Packaging and Branding
• 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 self-assessment can be used to improve learning  
• Special emphasis on innovative methodologies in product design and naming 
• 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 

Do not miss the opportunity to enroll in this Advanced Master’s Degree and improve your professional portfolio, directing it towards the most creative packaging and branding"

The teaching staff includes professionals from the field of design, who contribute the experience of their work to this program, as well as renowned specialists from reference societies and prestigious universities.

Its multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will deliver an immersive learning experience programmed to learn in real situations.

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

You decide when, where and how to take on the workload, allowing you to balance this program with any kind of daily activities and personal responsibilities"

You will have access to a library of high-quality multimedia resources, available 24 hours a day in the virtual classroom"

To ensure a truly meaningful educational experience, the syllabus is not limited to purely theoretical content. Each topic and module is accompanied by a compendium of detailed videos, interactive summaries, supplementary readings and simulated examples that greatly stimulate the understanding of all the theory covered. Therefore, the designer will be able to deepen their understanding of those topics that are most interesting to them, with self-evaluation exercises to help them track their progress throughout the Advanced Master’s Degree.

Thanks to the Relearning pedagogical methodology, you will not have to invest excessive hours of study in the program, but will acquire all the skills and knowledge in a natural way"

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. The Chromatic Circle
1.2.2. Cold 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. Alfredo Hickethier's Cube
1.5.4. The CIE Triangle (International Commission on Eclairage)

1.6. Individual Study of Colors

1.6.1. Black and White
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 Pantonera

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 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: The 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 Must Keep in Mind

Module 2. Corporate Image

2.1. Identity

2.1.1. Idea of Identity
2.1.2. Why Do We Search for Identity?
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. Chracteristics of Corporate Image
2.3.2. What Is the Purpose of the Corporate Image?
2.3.3. Types of Corporate Image
2.3.4. Examples

2.4. Basic Identifying Signs

2.4.1. Naming
2.4.2. Logotypes
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 Competitors
2.6.2. Staff Briefing 
2.6.3. Define Brand Strategy and Personality Values
2.6.4. Target Audience

2.7. The Client

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

2.8. Corporate Identity Manual

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

2.9. Identity Redesign

2.9.1. Reasons to Opt for 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. Project Presentation and Explanation References
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. Project Establishment Fonts and Colors
2.10.6. Project Delivery and Correction

Module 3. Portfolio Creation

3.1. The Portfolio

3.1.1. The Portfolio as Your Letter of Introduction
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. Portfolios in the Cloud: Behance

3.4. The Designer in the Labor Scheme

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 Resume and Its Importance
3.5.3. Common Resume Mistakes
3.5.4. How to Create a Good Resume

3.6. The New Consumers

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

3.7. Personal Branding

3.7.1. Entrepreneurship: The Search for Meaning
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. The Values of a Brand
3.8.3. Major Topics
3.8.4. Moodboard Using Pinterest
3.8.5. Analysis of Visual Factors
3.8.6. Analysis of Temporary Factors

3.9. Ethics and Responsibility

3.9.1. Ethical Decalogue for Design Practice 
3.9.2. Author Rights
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, Form and Counterform
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. Beginnings of Typography

4.3.1. Printing, 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-Garde
4.3.5. Interwar Period

4.4. The Role of Design Schools in Typography

4.4.1. The 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 Revolt
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. Typeface 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. Type 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 Text
4.8.5. Text Attributes

4.9. The Drawing of 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 a Typographic Composition that Makes an Impact?
4.10.3. Visual References
4.10.4. The Sketching Phase
4.10.5. Project

Module 5. New Creative Industries

5.1. New Creative Industries

5.1.1. From the Cultural Industry to the Creative Industry
5.1.2 Current Creative Industries
5.1.3. Activities and Sectors that Make Up the Creative Industries

5.2. Economic Weight of the Creative Industries Today

5.2.1. Contribution
5.2.2. Drivers of Growth and Change
5.2.3. Job Outlook in the Creative Industries

5.3. New Global Context of the Creative Industries

5.3.1. Radiography of the Creative Industries in the World
5.3.2. Sources of Financing for the Creative Industries in Each Country
5.3.3. Case Studies: Management Models and Public Policies

5.4. Natural and Cultural Heritage

5.4.1. Historical and Cultural Heritage
5.4.2. By-Products and Services for Museums, Archeological and Historical Sites and Cultural Landscapes
5.4.3. Intangible Cultural Heritage

5.5. Visual Arts

5.5.1. Plastic Arts
5.5.2. Photography
5.5.3. Crafts

5.6. Performing Arts

5.6.1. Theater and Dance
5.6.2. Music and Festivals
5.6.3. Fairs and Circus

5.7. Audiovisual Media

5.7.1. Movies, TV and Audiovisual Content
5.7.2. Radio, Podcasts and Audio Content
5.7.3. Video Games

5.8. Current Publications

5.8.1. Literature, Essays and Poetry
5.8.2. Publishers
5.8.3. Press

5.9. Creative Services

5.9.1. Design and Fashion
5.9.2. Architecture and Landscaping
5.9.3. Advertising

5.10. Connections of the Creative Economy or Orange Economy

5.10.1. Cascade Model - Concentric Circles
5.10.2. Creative, Production and Knowledge Spillovers
5.10.3  Culture at the Service of the Creative Economy

Module 6. Creative Branding: Communication and Creative Brand Management

6.1. Brands and Branding

6.1.1. The Brands
6.1.2. Evolution of Branding
6.1.3. Positioning, Brand Personality, Notoriety

6.2. Construction of the Brand

6.2.1. Marketing Mix
6.2.2. Brand Architecture
6.2.3.  Brand Identity

6.3. Expression of the Brand

6.3.1. Graphic Identity
6.3.2. Visual Expression
6.3.3. Other Elements Reflecting the Brand

6.4. Communication

6.4.1. Focuses
6.4.2. Brand Touchpoints
6.4.3. Communication Techniques and Tools

6.5. Brand Content

6.5.1. From Brands to Entertainment Platforms
6.5.2. The Rise of Branded Content
6.5.3. Connecting with Audiences Through Unique Storytelling

6.6. Visual Storytelling

6.6.1. Brand Analysis
6.6.2. Creative Advertising Concepts
6.6.3. The Creative Window

6.7. Customer Experience

6.7.1. Customer Experience (CX)
6.7.2. Customer Journey
6.7.3. Brand Alignment and CX

6.8. Strategic Planning

6.8.1. Objectives
6.8.2. Audience Identification and Insights
6.8.3. Strategy Design

6.9. Performance

6.9.1. Briefing
6.9.2. Tactics
6.9.3. Production Plan

6.10. Assessment

6.10.1. What to Evaluate
6.10.2. How to Evaluate (Measurement Tools)
6.10.3. Results Reports

Module 7. New Digital Marketing Strategy

7.1. Technology and Audiences

7.1.1.Digital Strategy and Differences Between User Types
7.1.2. Target Audience, Exclusionary Factors and Generations
7.1.3. The Ideal Costumer Profile (ICP) and the Buyer 

7.2. Digital Analytics for Diagnostics

7.2.1. Analytics Prior to the Digital Strategy
7.2.2. Moment 0
7.2.3. KPIs and Metrics, Typologies, Classification According to Methodologies

7.3. E-Entertainment: The Impact of E-Commerce on the Entertainment Industry

7.3.1. E-Commerce, Typologies and Platforms
7.3.2. The Importance of Web Design UX and UI
7.3.3. Optimization of Online Space: Minimum Requirements

7.4. Social Media and Influencer Marketing

7.4.1. Impact and Evolution of Network Marketing
7.4.2. Persuasion, Keys to Content and Viral Actions
7.4.3. Planning Social Marketing and Influencer Marketing Campaigns

7.5. Mobile Marketing

7.5.1. Mobile User
7.5.2. Web Mobile and Apps
7.5.3. Mobile Marketing Actions

7.6. Online Advertising

7.6.1. Advertising in Social Media and the Objectives of Social Ads
7.6.2. The Conversion Funnel or Purchase Funnel: Categories
7.6.3. Social Ads Platforms

7.7. Inbound Marketing Methodology

7.7.1. Social Selling, Fundamental Pillars and Strategy
7.7.2. The CRM Platform in a Digital Strategy
7.7.3. Inbound Marketing or Attraction Marketing: Actions and SEO

7.8. Marketing Automation

7.8.1. Email Marketing and Email Typology
7.8.2. Email Marketing Automation, Applications, Platforms and Advantages
7.8.3. The Emergence of Bot & Chatbot Marketing: Typology and Platforms

7.9. Data Management Tools

7.9.1. CRM in Digital Strategy, Typologies and Applications, Platforms and Trends
7.9.2. Big Data: Big Data, Business Analytics and Business Intelligence
7.9.3. Big Data, Artificial Intelligence and Data Science

7.10. Measuring Profitability

7.10.1. ROI: the Definition of ROI and ROI vs. ROAS
7.10.2. ROI Optimization
7.10.3. Key Metrics

Module 8. Design and Illustration with Adobe Illustrator

8.1. Workspace Preparation

8.1.1. What Is a Vector Graphic?
8.1.2. New Document Workspace
8.1.3. Interface

8.2. Work Area

8.2.1. Available Tools
8.2.2. Rules, Guidelines Grids
8.2.3. Worktables

8.3. Strokes

8.3.1. Geometric Figures
8.3.2. Selection and Direct Selection
8.3.3. Stroke

8.4. Color

8.4.1. Color and Dropper
8.4.2. Pencil
8.4.3. Brush

8.5. Shape Transformation

8.5.1. Eraser, Scissors and Blade
8.5.2. Warping, Scaling and Distortion
8.5.3.  Align and Group Layers

8.6. Color and Fill Attributes

8.6.1. Pen
8.6.2. Interactive Handles and Vertices
8.6.3. Color Libraries

8.7. Shapes

8.7.1. Gradient and Transparency Fusion
8.7.2. Armhunter
8.7.3. Interactive Tracing

8.8. The Letters

8.8.1. Install the Font Manager and Fonts Character and Paragraph
8.8.2. Text Tool
8.8.3. Outline, Modify and Deform the Text Expand and Shift

8.9. Chromatic Range

8.9.1.  Chromatic Range
8.9.2.  Typography and Hierarchies Logotype
8.9.3.  Creating a Pattern and Sample

8.10. Final Arts

8.10.1. Paper and Web Formats
8.10.2. Export for Printing
8.10.3. Export to Digital Media

Module 9. Vector Illustration of Packaging in Adobe Illustrator

9.1. The Vector Graphic

9.1.1. New Document Workspace
9.1.2. General Tools
9.1.3. The Color

9.2. Final Arts

9.2.1. Paper and Web Formats
9.2.2. Export for Printing
9.2.3. Export to Digital Media

9.3. AI Illustration Tools

9.3.1. Combinations of Tools for AI Illustration
9.3.2. Vector Compositions
9.3.3. Typographies

9.4. Digital Illustration

9.4.1.  AI Illustration References
9.4.2. Vector Tracing Technique and Its Derivatives
9.4.3. Application of Illustration to Packaging (In Focus: Dieline)

9.5. Sources

9.5.1. Time Optimization (Pages with Free AI Motifs)
9.5.2. Versions and Modification (Vector Drawing)
9.5.3. Advantages of AI Over Photoshop in Digital Illustration

9.6. Formats

9.6.1. Design on a Predetermined Format
9.6.2. Creation of the Format from Scratch
9.6.3. New Formats and Applications

9.7. Materials

9.7.1. Typical Materials and Their Applications
9.7.2. Packaging as an Object of Desire
9.7.3. New Materials

9.8. Physical Packaging

9.8.1. Labels
9.8.2. Boxes
9.8.3. Thank You Notes/Invitations
9.8.4. Wrappers

9.9.  Digital Packaging

9.9.1. News Letters
9.9.2. Banners  and Web
9.9.3. The Instagram Format

9.10. Mock-Up

9.10.1. Integration of a Mock-Up
9.10.2. Free Mock-Up Portals
9.10.3. Use of Mock-Up
9.10.4. Creation of Own Mock-Up 

Module 10. Ecodesign: Materials for Packaging Design

10.1. Sustainability: New Design Driver

10.1.1. The Three Dimensions of Sustainability: Social, Environmental and Economic
10.1.2. Sustainability within the Business Model
10.1.3.  Sustainability Embedded in the Entire Packaging Process: from Design to Recycling

10.2. Circular Economy in Packaging

10.2.1. Circularity in Aesthetic Environments
10.2.2. The Application of the Circular Economy in Packaging
10.2.3. The Challenges of the Circular Economy in Packaging

10.3. Sustainable Packaging Design

10.3.1.  Sustainable Design Goals
10.3.2.  Sustainable Design Difficulties
10.3.3   Sustainable Design Challenges

10.4. Sustainable Materials

10.4.1. Packaging Made with Naturally Sourced Materials
10.4.2. Packaging Made with Compostable Materials
10.4.3. Packaging Made with Biodegradable Materials

10.5. The Use of Plastic 

10.5.1. The Effects of Plastic in the World
10.5.2. Alternatives to Plastic
10.5.3. Recycled Plastic

10.6. Sustainable Manufacturing Processes

10.6.1. Sustainable Processes in the Social Dimension
10.6.2. Sustainable Processes in the Environmental Dimension
10.6.3. Sustainable Processes in the Economic and Governance Dimension

10.7. Recycling

10.7.1. Recycled Materials
10.7.2. Recycling Process
10.7.3. The Price of Recycling in Packaging

10.8. Design Packaging to Recycle and Reuse

10.8.1. The Second Life of Packaging
10.8.2. Design to Recycle
10.8.3. Design to Reuse

10.9. Packaging Optimization and Versatility

10.9.1. When Less Is More in Packaging
10.9.2. How to Reduce Packaging without Losing Brand Value
10.9.3. When Packaging Can be Removed without Losing Brand Value

10.10. How to Generate Consumer Awareness of Packaging

10.10.1. Educational
10.10.2. Awareness
10.10.3. Involving the Consumer in the Packaging Process

Module 11. Packaging Structure

11.1. Packaging Illustration

11.1.1. Packaging Culture (Resonance)
11.1.2. Digital Packaging Functions
11.1.3. Packaging Design Objectives

11.2. Structural Composition

11.2.1. Shape Selection (Structure)
11.2.2. Color Matching
11.2.3. 2D Texture

11.3. Expressive Techniques

11.3.1. Specific Illustrations
11.3.2. Abstract Illustrations
11.3.3. Humor in Packaged Products

11.4. Visual Representation Techniques

11.4.1. Associations
11.4.2. Symbolic Metaphors
11.4.3. Visual Hyperboles-Exaggerations (In Focus: Visual Hierarchy)

11.5. Conceptual Design

11.5.1. Demographic and Ethnographic Research
11.5.2. Retail Research & Digital Research
11.5.3. Brand Concept, Packaging Design (In Focus: Culture Map)

11.6. Packaging Design Elements

11.6.1. The Display Panel
11.6.2. The Brand Imaginary
11.6.3. Concept Board (In Focus: The Name of the Product and the Name of the Brand)

11.7. Lettering

11.7.1. Typography
11.7.2. Line Spacing
11.7.3. Typographic Principles (In Focus: Typography and Technology)

11.8. Packaging Design Stages

11.8.1. Project Structure and Briefing
11.8.2. Strategy Communication
11.8.3. Design Refinement and Preproduction (In Focus: Who Are Luxury Packaging Products Designed For?)

11.9. The Sensory Experience

11.9.1. What Does Packaging Sound Like?
11.9.2. 2D Touch
11.9.3. Sensory Evaluation (In Focus: The Virtual Sensory Experience)

11.10. Virtual Packaging 

11.10.1.  Packaging in the Metaverse
11.10.2. Luxury Brands
11.10.3. The Audiovisual Material Included in the Packaging (In Focus: Unboxing in the Metaverse)

Module 12. Jewelry and Cosmetics Packaging

12.1. The Competitiveness of the Cosmetics Sector

12.1.1.     Packaging Consumer Needs
12.1.2.     The Broad Spectrum of Cosmetic Brands
12.1.3.     Packaging Design as a Differential Value in the Cosmetics Sector

12.2. Styles in Cosmetic Design

12.2.1. Feminine Design
12.2.2. Masculine Design
12.2.3. Non-Gender Design

12.3. The Design of Cream and Soap Containers

12.3.1. Definition of Round or Square Lines
12.3.2. Customization of the Front
12.3.3. Bold Patterns vs. Sober Patterns

12.4. Safety and Protection of Creams

12.4.1. Preservation of Antioxidants
12.4.2. The Risks of Poor Packaging
12.4.3. Packaging Opacity

12.5. Fragrances

12.5.1. Natural Ingredients
12.5.2. Perfume Packaging: Color or Glass
12.5.3. Bottle Structure

12.6. Packaging Design for Makeup

12.6.1. Illustration on Shadow Boxes
12.6.2. Special Editions
12.6.3. Floral Style vs. Minimal Style

12.7. Packaging Trends throughout the Packaging Process

12.7.1. Outer Packaging-Bag
12.7.2. Inner Packaging-Box
12.7.3. Product Packaging-Bottle

12.8.Creative Experimental Packaging

12.8.1. Jewelry as a Unique Piece
12.8.2. Sophistication and Elegance
12.8.3. The Magical Box

12.9. Color Selection in Jewelry Packaging Design

12.9.1. The Classic Palette
12.9.2. The Color of Gold and Its Symbology
12.9.3. Metal, a Cold and Colorless Material

12.10. The Design of Jewelry Boxes

12.10.1. Wood Cutting: Edges and Compartments
12.10.2. Cloth or Velvet Lining
12.10.3. Jewelry Presentation Design

12.11. Luxury Jewelry Packaging

12.11.1. Leather Packaging
12.11.2. The Use of Ribbons and Satin
12.11.3. Space for the Logo

Module 13. Gourmet Packaging and Wines

13.1. Gourmet Packaging Fundamentals

13.1.1.  Practical and Aesthetic Design
13.1.2. The Use of Glass and Cardboard
13.1.3. The Ergonomics of the Packaging

13.2. Information Architecture

13.2.1. Priority: Aesthetic or Functional
13.2.2. Complementary Values
13.2.3. The Message to Be Transmitted

13.3. Logo Design

13.3.1. The Isotype
13.3.2. The Isologotype
13.3.3. The Label

13.4. Essential Content in Gourmet and Wine Packaging

13.4.1. Denomination of Origin
13.4.2. Product Description
13.4.3. Specific Quality Seals

13.5. Wine and Gourmet Products Properties

13.5.1. Quality Preservation
13.5.2. Flavor Preservation
13.5.3. Presentation

13.6. The Personality of Gourmet and Wine Brands

13.6.1. Family Inheritance
13.6.2. Inspiring Good Times
13.6.3. The Sense of Taste Enters through the Eyes

13.7. The Label

13.7.1. Types of Paper
13.7.2. Paper Properties
13.7.3. Additional Information (In Focus: The Use of Recycled Paper in Labels)

13.8. Cork

13.8.1. The Quality of the Cork
13.8.2. Natural Cork, Twin-Top, Agglomerate and Colmated
13.8.3. Printing on the Cork (Procork, T-Cork, Cava or Multipiece)

13.9. The Glass

13.9.1. Molds and Shapes for Glass
13.9.2. Height and Color of the Bottle
13.9.3. The Design of the Protective Sealing Capsules

13.10. Gourmet Packaging

13.10.1. The Product in View
13.10.2. Clear, Legible and Neat Labeling
13.10.3. Designing Freshness

Module 14. Packaging and Design in Mass Consumption

14.1. Transparency in Food Packaging 

14.1.1. Packaging Health
14.1.2. Plastic for Food Wrapping and Biodegradable Materials
14.1.3. Polymers

14.2. New Food Packaging

14.2.1. Biopolymers
14.2.2. Organic Acids
14.2.3. Gas and Temperature Indicators

14.3.Nano Packaging

14.3.1. Nanoparticles
14.3.2. Nanomaterials
14.3.3. Nanoemulsions

14.4. Current Mass Consumption Packaging 

14.4.1.  Active Packaging
14.4.2. Intelligent Packaging
14.4.3. Smart Packaging

4.5. Mass Production

14.5.1.  Packaging and Distribution
14.5.2.  Primary Packaging
14.5.3.  Secondary Packaging (Case: Kellogg's Boxes)

14.6. The Appearance of Mass Consumption

14.6.1. Food Photography
14.6.2. Instructional Illustrations
14.6.3. Efficient Design

14.7. Interactive Packaging

14.7.1. The Functionality of Interactive Packaging
14.7.2. ypes of Interactive Packaging
14.7.3. Interactive Relationships

14.8. Food Packaging Design

14.8.1. Shape and Size
14.8.2. Fresh or Processed Foods
14.8.3. Design in Product Labeling

14.9. Commercial Packaging

14.9.1. From Common to Premium
14.9.2. Functional Design with a Twist
14.9.3. Mass Customization

14.10. Packaging Design Assessment

14.10.1. Is it Clear What Your Product Is?
14.10.2. Is it an Honest Representation of the Product?
14.10.3. How Will the Product Look in the Store or in 3D?
14.10.4. Versatility

Module 15. Marketing & Branding for Packaging

15.1. Artificial Intelligence in Packaging Design

15.1.1. The Activation of Creativity through Data
15.1.2. Differentiation Techniques
15.1.3. Redesign and Assessment

15.2. Branding for “Wrappers”

15.2.1. Brand Identity
15.2.2. Design Based on Branding
15.2.3. The Economic Impacts of Branding in Packaging

15.3. Digital Strategy

15.3.1. Business Strategies Linked to Identity
15.3.2. Advertising
15.3.3. Positioning Assessment

15.4.     The Data Orientation Process

15.4.1. Managing Visual Communication through Data
15.4.2. Data Collection and Selection
15.4.3. Data Analysis

15.5. Premium Environment Consumption Habits

15.5.1. Key Marketing Metrics
15.5.2. Key Packaging Metrics
15.5.3. The Creation of Sequential Patterns

15.6. Innovation in the Packaging Environment

15.6.1. Creativity Management
15.6.2. Predictive Techniques
15.6.3. Simulation of Innovation Scenarios

15.7. The Use of Big Data for Icon Creation

15.7.1. The Packaging Market
15.7.2. The Packaging Consumer
15.7.3. Segmentation and Value

15.8. Value Creation Over Time

15.8.1. Loyalty Strategies
15.8.2. The Generation of Ambassadors
15.8.3. Efficient Management of Communications

15.9. User Experience

15.9.1. The Digital Environment
15.9.2. Engagement Generation
15.9.3.The Messages

15.10. Project Management

15.10.1. Briefing Preparation
15.10.2. Strategic Communication
15.10.3. Value Communication

Module 16. Creative Direction

16.1. Packaging Evolution

16.1.1. Visual Communication
16.1.2. Speculative History of Packaging
16.1.3. Aesthetic Fundamentals

16.2. The Product Narrative

16.2.1. Identify Its History: What Is the History?
16.2.2. Identify Your Target Audience
16.2.3. Conversation Between Brand and Consumer

16.3. Brand Strategy

16.3.1. Briefings
16.3.2. Mechanisms and Languages
16.3.3. Material Research Tendencies

16.4. Speculation Workshop

16.4.1. Art and Space Volumes
16.4.2. Physical Space I. Game, Time and Chance
16.4.3. Digital Space I. Virtual Making

16.5. Product Environment

16.5.1. Premises and Their Position
16.5.2. Physical Space II
16.5.3. Digital Space II

16.6.Technical Creativity

16.6.1. Composition
16.6.2. Exquisite Corpse. The Multiplicity of Images
16.6.3. Hypergraphics Graphics Applied to Space

16.7.  Production and Development of Packaging

16.7.1. Materials as a Message
16.7.2. Traditional and Contemporary Techniques
16.7.3. Why Do We Bet on an Image?

16.8. Art Direction

16.8.1. Applying the Product Narrative
16.8.2. Color Range and Its Meaning
16.8.3. Identify the Advertising Approach

16.9.Post-Production

16.9.1. Photography
16.9.2. Lighting
16.9.3. Effects

16.10. Entrepreneurship Project

16.10.1. Portfolios
16.10.2. Instagram
16.10.3. Reflection. Workshop

Module 17. Packaging Operational Development

17.1. The Chain Value of Packaging

17.1.1. Life Cycle of a “Wrapper”
17.1.2. Functionality
17.1.3. The Role of Design in the Supply Chain

17.2. Stock Packaging

17.2.1. Storage
17.2.2. Distribution: Tracking and Tracing
17.2.3. The Integration of Operability in the Design

17.3. Retail and E-Commerce

17.3.1. The New Reality of Packaging in Physical Stores
17.3.2. Concept Stores
17.3.3. In Focus Package Design: Standardization vs. Personalization

17.4. Industrial Packaging

17.4.1. Cost Analysis
17.4.2. Packaging Design Limits
17.4.3. Packaging Process Assessment

17.5. Innovation in Packaging Design

17.5.1. Evolution of the Concept of Packaging
17.5.2. Packaging Quality
17.5.3. Shipment Management in the Online Channel

17.6. Packaging Strategy

17.6.1. Primary, Secondary and Tertiary Packaging in the Packaging System
17.6.2. Product Manufacturer and Packaging Designer
17.6.3. Decision-Making

17.7. Concept Development

17.7.1. OKR Technique (Objectives and Key Results)
17.7.2. Framing Techniques
17.7.3. Canvas Technique

17.8. The Design Product

17.8.1. Prototyping (Story Map + Live Data)
17.8.2. Tested (Concierge Test + Usability/Reliability/Behavior)
17.8.3. Assessment

17.9. Legal and Regulatory Aspects

17.9.1. Intellectual Property
17.9.2. Forgery
17.9.3. Confidentiality

17.10. The Packaging Designer's Profession

17.10.1. Stakeholders
17.10.2. Workplace Environment
17.10.3. Labor Relations with Customers

All the material you will have access to can be downloaded from any device with an internet connection, and will later be a great reference guide even after you finish your degree"