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

This Postgraduate diploma in Creative Design 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 growth path 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 Creative Design 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 Creative Design. An educational path that will scale the student's skills to help them achieve the challenges of a top professional.

The Postgraduate diploma in Creative 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 Creative Design" 

This Postgraduate diploma in Creative Design 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 design professional 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, the most interactive digital tools are made available. This way, it is possible to offer a way of learning that is totally adaptable to your needs, so you can perfectly combine this program with your personal or working 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 the program in order to advance in the labor market with confidence and competitiveness, and to practice the profession with the excellence that only the best qualification allows.

This Postgraduate diploma contains the most complete and up-to-date program on the market"

Module 1. Drawing for Design 

1.1. Introduction to Drawing

1.1.1. Definition of the Concept
1.1.2. Technical Possibilities
1.1.3. The Importance of Analogue Drawing
1.1.4. Drawing throughout History

1.2. Materials I: Dry Techniques

1.2.1. Adequate Paper
1.2.2. Charcoal
1.2.3. Sanguine and Conté
1.2.4. Graphite
1.2.5. Colored Pencils
1.2.6. Markers and Pens
1.2.7. Pastels

1.3. Materials II: Wet Techniques

1.3.1. Adequate Paper
1.3.2. Tempera
1.3.3. Chinese Ink
1.3.4. Watercolor

1.4. Natural Analysis

1.4.1. Freehand Drawing
1.4.2. The Line and the Dot
1.4.3. The Spot
1.4.4. Case Study: Loosening the Hand
1.4.5. Fit: Proportion and Scale

1.5. Manual Drawing Techniques

1.5.1. Cross Hatching
1.5.2. Shading Techniques
1.5.3. Relationship with Geometric Shapes
1.5.4. Using Fantasy

1.6. Technical Drawing

1.6.1. Standardization
1.6.2. Dihedral System
1.6.3. Isometric Perspective
1.6.4. Perspective of a Gentleman
1.6.5. Conical Perspective

1.7. Light as a Volume Modulator

1.7.1. Light Direction and Shadow Projection
1.7.2. Chiaroscuro
1.7.3. Grayscale Intensity of the Stroke
1.7.4. Application Exercises

1.8. Drawing in Digital Media

1.8.1. From Analogue to Digital
1.8.2. The Graphics Tablet
1.8.3. iPad: Procreate
1.8.4. 3D Drawing SketchUp

1.9. Types of Drawing According to Their Theme

1.9.1. The Major Themes: Still Life, Portrait, Nude, Landscape and Genre Scenes
1.9.2. Artificial Shapes
1.9.3. Natural Shapes
1.9.4. The Human Being

1.10. From the Idea to Paper

1.10.1. Case Study I: What Can I See?
1.10.2. Case Study II: How Do I Feel?
1.10.3. Case Study III: Technical Drawing in Sketchup
1.10.4. Case Study IV: Thematic Choice

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. Fundamentals of Creativity 

3.1. Creative Introduction

3.1.1. Style in Art
3.1.2. Educate Your Eyes
3.1.3. Can Anyone Be Creative?
3.1.4. Pictorial Languages
3.1.5. What Do I Need? Materials

3.2. Perception as the First Creative Act

3.2.1. What Do You See? What Do You Hear? How Do You Feel?
3.2.2. Perceive, Observe, Attentively Examine
3.2.3. Portrait and Self-Portrait: Cristina Núñez
3.2.4. Case Study: Photodialogue Diving into Oneself

3.3. Facing the Blank Paper

3.3.1. Drawing without Fear
3.3.2. The Notebook as a Tool
3.3.3. The Book of an Artist: What Is It?
3.3.4. Referrals

3.4. Creating Our Artist’s Book

3.4.1. Analysis and Gaming: Pencils and Markers
3.4.2. Tricks to Loosen the Hand
3.4.3. First lines
3.4.4. The Nib

3.5. Creating Our Artist’s Book II

3.5.1. The Spot
3.5.2. Waxes. Experimentation
3.5.3. Natural Pigments

3.6. Creating Our Artist’s Book III

3.6.1. Collage and Photomontage
3.6.2. Traditional Tools
3.6.3. Online Tools: Pinterest
3.6.4. Experimentation with Image Composition

3.7. Doing without Thinking

3.7.1. What Do We Achieve by Doing Without Thinking?
3.7.2. Improvise: Henri Michaux
3.7.3. Action Painting

3.8. Critics as Artists

3.8.1. Constructive Criticism
3.8.2. Manifesto on Creative Criticism

3.9. The Creative Block

3.9.1. What Is a Blockage?
3.9.2. Extend your Limits
3.9.3. Case Study: Get Your Hands Dirty

3.10. Studying Our Artist’s Book

3.10.1. Emotions and Their Management in the Creative Sphere
3.10.2. Your Own World in a Notebook
3.10.3. What Did I Feel? Self-Analysis
3.10.4. Case Study: Criticizing myself

Module 4. Image Projects 

4.1. Art Therapy

4.1.1. What Is Art Therapy?
4.1.2. Origin of Art Therapy
4.1.3. How It Works and Benefits
4.1.4. Visual References

4.2. Self-Knowledge

4.2.1. Activity I: Who Have I Been?
4.2.2. Activity II: Who Am I?
4.2.3. Activity III: Me with Myself
4.2.4. Reflections

4.3. Identity Transitions

4.3.1. Activity: My Identity Transitions
4.3.2. Referents
4.3.3. Development of the Activity
4.3.4. Analysis of Results

4.4. The Body, the Place Where Meaning Is Inscribed and Reconstructed

4.4.1. Introduction: Body Ideal?
4.4.2. Social Stereotypes, Men and Women
4.4.3. Reflective Approach: The Body as a Ground of Meaning
4.4.4. Activity: Representation of the Social and Personal Body Ideal
4.4.5. Conclusions

4.5. The Abstract Image

4.5.1. The Representational Image
4.5.2. The Abstract Image
4.5.3. The Symbolic Image
4.5.4. Activity: Abstraction Route

4.6. Identifiable Images I: Textures

4.6.1. Haptic Art: from the Visual to the Tactile
4.6.2. The Importance of Textures
4.6.3. Tactile Textures
4.6.4. Optic Textures
4.6.5. Fictitious Textures
4.6.6. Organic and Geometric Textures

4.7. Identifiable Images II: Texture Projects

4.7.1. Activity: Children's Story with Textures
4.7.2. Theme, Colors and Materials
4.7.3. Organization
4.7.4. Visual References

4.8. The Color Experience

4.8.1. Use of Color Mandalas
4.8.2. Referent Artists
4.8.3. Activity: Experimental Installation with Color
4.8.4. Analysis and Conclusions

4.9. Experimenting with Digital Image

4.9.1. Introduction to the Activity
4.9.2. Search for Reference Images
4.9.3. Sketching Process
4.9.4. Inking and Coloring in Photoshop
4.9.5. Final Touches and Presentation

4.10. Beyond the Image: Metadata

4.10.1. Digital Design and Metadata
4.10.2. Incorporating Metadata
4.10.3. Meta-Informative Structures
4.10.4. References

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