TECH presents this intensive program as a unique opportunity to become an expert in Packaging and Product Design at your own pace, without schedules or stress"

A quality and appealing design that makes a difference in the market for products of any kind has never been more important. Nowadays, the supply of all kinds of products exceeds the demand, so companies must have a thorough and carefully studied creation and marketing strategy, which also includes creative and innovative actions. Investing in attractive packaging that reflects the brand's corporate image is one of the ways to do so, as well as to attract the public's attention.

For that reason, the demand for professionals specialized in this area of design is increasing, so TECH and its team of experts has decided to launch this Advanced master’s degree in Product Design, Packaging Expert.

It is a comprehensive and exhaustive program that will provide graduates with the keys to master the latest techniques in the sector, focusing on improving their creative skills.

Additionally, students will have hundreds of hours of theoretical and practical training on the creation of quality packaging in line with the image of the entity to which it belongs. It also includes a part of the syllabus dedicated to eco-design and sustainable manufacturing processes, so that students can add to their professional profiles a distinctive aspect that characterizes their commitment to the environment.

But if there is something that characterizes this qualification, it’s versatility, as well as the way it provides specialists with the opportunity to study wherever they want and with a personalized schedule, thanks to its convenient 100% online format. Professionals will also have access to all the content from the beginning of the program, which includes, in addition to the best theoretical and practical content, hundreds of hours of additional material in different formats. You can use this to contextualize your knowledge and deepen your understanding of those sections that you consider most relevant for your professional development. 

In this 100% online program, you will find an innovative, creative, dynamic and attractive syllabus, according to the current characteristics of the field of design"

This Advanced master’s degree in Product Design, Packaging Expert contains the most complete and up-to-date educational program on the market. Its most notable features are:

• Case studies presented by experts in Packaging and Design
• The graphic, schematic, and 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 packaging
• 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

Thanks to the meticulousness with which the syllabus has been designed, you will delve into the marketing of the company and organizations, so that you will get a broad and generalized idea of the current situation of the sector"

Its teaching staff includes professionals from the field of design, who contribute their work experience to this program, as well as recognized specialists from leading companies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive experience designed to learn for real-life situations.

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

You will be able to invest as many hours as you want to acquire in-depth knowledge of the fundamentals of design, creativity and marketing, so that you can increase your knowledge in the field"

Having in-depth knowledge of current trends regarding the stages in the consumer's buying process will help you to create designs based on their habits"

The syllabus of this Advanced master’s degree has been designed exclusively for this qualification, combining the most complete and cutting-edge information on product design and packaging creation in a single program. For this, TECH has taken into account the criteria of the teaching team, who have been involved in creating dynamic and attractive content, that is also intensive and comprehensive. Therefore, students can enjoy a quality academic experience that is based on the most avant-garde and effective teaching methodology in the education sector.    

In the virtual classroom you will find dynamic summaries of each unit, so that you don't miss anything and can follow this academic experience in detail" 

Module 1. Design Fundamentals

1.1. History of Design

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

1.2. Styles and Movements of Design

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
1.2.8. Contemporary Design

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. Project 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. The Language of 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 the Signs
1.5.5. Proposal

1.6. Design and its Aesthetic-Formal Dimension

1.6.1. Visual Elements

1.6.1.1. 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 Methods of Design

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. Meaning
1.8.3. Denotative Meaning and Connotative Meaning
1.8.4. Lexis
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 Consequences, 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 Context of Design

1.10.1. Current Problems of Design
1.10.2. Current Themes of Design
1.10.3. Contributions on Methodology

Module 2. Fundamentals of Creativity

2.1. Creative Introduction

2.1.1. Style in Art
2.1.2. Educate Your Eyes
2.1.3. Can Anyone Be Creative?
2.1.4. Pictorial Languages
2.1.5. What Do I Need? Materials

2.2. Perception as the First Creative Act

2.2.1. What Do You See? What Do You Hear? How Do You Feel?
2.2.2. Perceive, Observe, Attentively Examine
2.2.3. Portrait and Self-Portrait: Cristina Núñez
2.2.4. Case Study: Photodialogue Diving into Oneself

2.3. Facing the Blank Paper

2.3.1. Drawing without Fear
2.3.2. The Notebook as a Tool
2.3.3. The Book of an Artist: What Is It?
2.3.4. Referrals

2.4. Creating Our Artist’s Book I

2.4.1. Analysis and Gaming: Pencils and Markers
2.4.2. Tricks to Loosen the Hand
2.4.3. First lines
2.4.4. The Nib

2.5. Creating Our Artist’s Book II

2.5.1. The Spot
2.5.2. Waxes. Experimentation
2.5.3. Natural Pigments

2.6. Creating Our Artist’s Book III

2.6.1. Collage and Photomontage
2.6.2. Traditional Tools
2.6.3. Online Tools: Pinterest
2.6.4. Experimentation with Image Composition

2.7. Doing without Thinking

2.7.1. What Do We Achieve by Doing Without Thinking?
2.7.2. Improvise: Henri Michaux
2.7.3. Action Painting

2.8. Critics as Artists

2.8.1. Constructive Criticism
2.8.2. Manifesto on Creative Criticism

2.9. The Creative Block

2.9.1. What is a Blockage?
2.9.2. Extend your Limits
2.9.3. Case Study: Get Your Hands Dirty

2.10. Studying Our Artist’s Book

2.10.1. Emotions and Their Management in the Creative Sphere
2.10.2. Your own World in a Notebook
2.10.3. What Did I Feel? Self-Analysis
2.10.4. Case Study: Criticizing myself

Module 3. Fundamentals of Marketing

3.1. Introduction to Marketing

3.1.1. Concept of Marketing

3.1.1.1. Definition of Marketing
3.1.1.2. Evolution and Current Affairs of Marketing

3.1.2. Different Approaches to Marketing

3.2. Marketing in the Company: Strategic and Operational The Marketing Plan

3.2.1. Commercial Management
3.2.2. Importance of Commercial Management
3.2.3. Diversity of Forms of Management
3.2.4. Strategic Marketing
3.2.5. Commercial Strategy
3.2.6. Scope of Application
3.2.7. Commercial Planning
3.2.8. The Marketing Plan
3.2.9. Concept and Definitions
3.2.10. Stages of the Marketing Plan
3.2.11. Types of Marketing Plans

3.3. The Business Environment and the Organizational Marketplace

3.3.1. The Environment
3.3.2. Concepts and Limits of the Environment
3.3.3. Macro-Environment
3.3.4. Micro-Environment
3.3.5. The Market
3.3.6. Market Concepts and Limits
3.3.7. Evolution of the Markets
3.3.8. Types of Markets
3.3.9. The Importance of Competence

3.4. Consumer Behavior

3.4.1. The Importance of Behavior in Strategy
3.4.2. Influencing Factors
3.4.3. Benefits for the Company
3.4.4. Consumer Benefits
3.4.5. Approaches to Consumer Behavior
3.4.6. Characteristics and Complexity
3.4.7. Variables Involved
3.4.8. Different Types of Approaches

3.5. Stages in the Consumer Buying Process

3.5.1. Approach
3.5.2. Approach According to Different Authors
3.5.3. The Evolution of the Process in History
3.5.4. Stages
3.5.5. Recognition of the Problem
3.5.6. Information Search
3.5.7. Evaluation of Alternatives
3.5.8. Decision to Purchase
3.5.9. Post-Purchase
3.5.10. Models in Decision Making
3.5.11. Economic Model
3.5.12. Psychological Model
3.5.13. Mixed Behavior Models
3.5.14. Market Segmentation in the Strategy of Organizations
3.5.15. Market Segmentation
3.5.16. Concept
3.5.17. Types of Segmentation
3.5.18. The Influence of Segmentation in Strategies
3.5.19. Importance of Segmentation in the Company
3.5.20. Planning Strategies Based on Segmentation

3.6. Consumer and Industrial Market Segmentation Criteria
3.7. Segmentation Procedure

3.7.1. Segment Delimitation
3.7.2. Profile Identification
3.7.3. Evaluation of the Procedure

3.8. Criteria for Segmentation

3.8.1. Geographic Characteristics
3.8.2. Social and Economic Characteristics
3.8.3. Other Criteria
3.8.4. Consumer Response to Segmentation

3.9. Supply-Demand Market Segmentation Assessment

3.9.1. Supply Analysis

3.9.1.1. Supply Classifications
3.9.1.2. Determination of the Supply
3.9.1.3. Factors Affecting Supply

3.9.2. Demand Analysis

3.9.2.1. Demand Classifications
3.9.2.2. Market Areas
3.9.2.3. Demand Estimation

3.9.3. Segmentation Assessment

3.9.3.1. Assessment Systems
3.9.3.2. Methods of Monitoring
3.9.3.3. Feedback

3.10. Marketing Mix

3.10.1. Definition of Marketing Mix

3.10.1.1. Concept and Definition
3.10.1.2. History & Evolution

3.10.2. Marketing Mix Elements

3.10.2.1. Product
3.10.2.2. Price
3.10.2.3. Distribution
3.10.2.4. Promotion

3.10.3. The New Marketing 3

3.10.3.1. Personalization
3.10.3.2. Participation
3.10.3.3. Peer to Peer
3.10.3.4. Modeled Predictions

3.10.4. Current Management Strategies for the Product Portfolio Growth and Competitive Marketing Strategies
3.10.5. Portfolio Strategies

3.10.5.1. The BCG matrix
3.10.5.2. The Ansoff Matrix
3.10.5.3. The Competitive Position Matrix

3.10.6. Strategies

3.10.6.1. Segmentation Strategy
3.10.6.2. Positioning Strategy
3.10.6.3. Loyalty Strategy
3.10.6.4. Functional Strategy

Module 4. Corporate Image

4.1. Identity

4.1.1. Idea of Identity
4.1.2. Why is Identity Sought?
4.1.3. Types of Identity
4.1.4. Digital Identity

4.2. Corporate Identity

4.2.1. Definition. Why Have a Corporate Identity?
4.2.2. Factors Influencing Corporate Identity
4.2.3. Corporate Identity Components
4.2.4. Identity Communication
4.2.5. Corporate Identity, Branding and Corporate Image

4.3. Corporate Image

4.3.1. Characteristics of the Corporate Image
4.3.2. What Is the Purpose of Corporate Image?
4.3.3. Types of Corporate Image
4.3.4. Examples

4.4. Basic identifying signs

4.4.1. The Name or Naming
4.4.2. Logos
4.4.3. Monograms
4.4.4. Imagotypes

4.5. Identity Memorization Factors

4.5.1. Originality
4.5.2. The Symbolic Value
4.5.3. Impressiveness
4.5.4. Repetition

4.6. Methodology for the Branding Process

4.6.1. Study of the Sector and Competition
4.6.2. Briefing, Template
4.6.3. Define Brand Strategy and Personality Values
4.6.4. Target Audience

4.7. The Customer

4.7.1. Intuit What the Customer Is Like
4.7.2. Types of Customers
4.7.3. The Meeting Process
4.7.4. The Importance of Knowing the Customer
4.7.5. Establishing the Budget

4.8. Corporate Identity Manual

4.8.1. Construction Standards and Application of the Brand
4.8.2. Corporate Typography
4.8.3. Corporate Colors
4.8.4. Other Graphic Elements
4.8.5. Examples of Corporate Manuals

4.9. Identity Redesign

4.9.1. Reasons to Choose an Identity Redesign
4.9.2. Managing a Change in Corporate Identity
4.9.3. Good Practice Visual References
4.9.4. Malpractice Visual References

4.10. Brand Identity Project

4.10.1. Presentation and Explanation of the Project. Referrals
4.10.2. Brainstorming Market Analysis
4.10.3. Target Audience, Brand Value
4.10.4. First Ideas and Sketches. Creative Techniques
4.10.5. Establishment of the Project. Fonts and Colors
4.10.6. Delivery and Correction of Projects

Module 5. Design for Manufacturing

5.1. Design for Manufacture and Assembly
5.2. Forming by Molding

5.2.1. Foundry
5.2.2. Injection

5.3. Forming by Deformation

5.3.1. Plastic Deformation
5.3.2. Printed
5.3.3. Forge
5.3.4. Extrusion

5.4. Conformation due to Loss of Material

5.4.1. Abrasion
5.4.2. By Chip Removal

5.5. Heat Treatment

5.5.1. Tempering
5.5.2. Annealing
5.5.3. Coating
5.5.4. Standardization
5.5.5. Thermochemical Treatments

5.6. Application of Paints and Coatings

5.6.1. Electrochemical Treatments
5.6.2. Electrolytic Treatments
5.6.3. Paints, Lacquers and Varnishes

5.7. Forming of Polymers and Ceramic Materials
5.8. Manufacture of Composite Parts
5.9. Additive Manufacturing

5.9.1. Powder Bed Fusion
5.9.2. Direct Energy Deposition
5.9.3. Binder Jetting
5.9.4. Bound Powder Extrusion

5.10. Robust Engineering

5.10.1. Taguchi Method
5.10.2. Experiment Design
5.10.3. Statistical Process Control

Module 6. Materials

6.1. Material Properties

6.1.1. Mechanical Properties
6.1.2. Electrical Properties
6.1.3. Optical Properties
6.1.4. Magnetic Properties

6.2. Metallic Materials I. Ferrous
6.3. Metallic Materials II. Non-Ferrous
6.4. Polymeric Materials

6.4.1. Thermoplastics
6.4.2. Thermosetting Plastics

6.5. Ceramic Materials
6.6. Composite Materials
6.7. Biomaterials
6.8. Nanomaterials
6.9. Corrosion and Degradation of Materials

6.9.1. Types of Corrosion
6.9.2. Oxidation of Metals
6.9.3. Corrosion Control

6.10. Non-Destructive Testing

6.10.1. Visual Inspections and Endoscopies
6.10.2. Ultrasound
6.10.3. X-Rays
6.10.4. Foucault's Currents (Eddy Currents)
6.10.5. Magnetic Particles
6.10.6. Penetrating Liquids
6.10.7. Infrared Thermography

Module 7. Sustainable Design

7.1. Environmental Status

7.1.1. Environmental Context
7.1.2. Environmental Perception
7.1.3. Consumption and Consumerism

7.2. Sustainable Production

7.2.1. Ecological Footprint
7.2.2. Biocapacity
7.2.3. Ecological Deficit

7.3. Sustainability and Innovation

7.3.1. Production Processes
7.3.2. Process Management
7.3.3. Implementation of the Production
7.3.4. Productivity Through Design

7.4. Introduction. Ecodesign

7.4.1. Sustainable Development
7.4.2. Industrial Ecology
7.4.3. Eco-Efficiency
7.4.4. Introduction to the Concept of Ecodesign

7.5. Ecodesign Methodologies

7.5.1. Methodological Proposals for the Implementation of Ecodesign
7.5.2. Project Preparation (Driving Forces, Legislation)
7.5.3. Environmental Aspects

7.6. Life Cycle Assessment (LCA)

7.6.1. Functional Unit
7.6.2. Inventory
7.6.3. Impact Ratio
7.6.4. Generation of Conclusions and Strategy

7.7. Improvement Ideas (Ecodesign Strategies)

7.7.1. Reduce Impact
7.7.2. Increase Functional Unit
7.7.3. Positive Impact

7.8. Cradle to Cradle

7.8.1. Definition
7.8.2. Evolution
7.8.3. Success Stories

7.9. Environmental Regulations

7.9.1. Why We Need Regulations?
7.9.2. Who Makes the Regulations?
7.9.3. Regulations in the Development Process

Module 8. Materials for Design

8.1. Material as Inspiration

8.1.1. Search for Materials
8.1.2. Classification
8.1.3. The Material and its Context

8.2. Materials for Design

8.2.1. Common Uses
8.2.2. Contraindications
8.2.3. Combination of Materials

8.3. Art + Innovation

8.3.1. Materials in Art
8.3.2. New Materials
8.3.3. Composite Materials

8.4. Physical

8.4.1. Basic Concepts
8.4.2. Composition of Materials
8.4.3. Mechanical Testing

8.5. Technology

8.5.1. Intelligent Materials
8.5.2. Dynamic Materials
8.5.3. The Future in Materials

8.6. Sustainability

8.6.1. Procurement
8.6.2. Use
8.6.3. Final Management

8.7. Biomimicry

8.7.1. Reflection
8.7.2. Transparency
8.7.3. Other techniques

8.8. Innovation

8.8.1. Success Stories
8.8.2. Materials Research
8.8.3. Sources of Research

8.9. Risk Prevention

8.9.1. Safety Factor
8.9.2. Fire
8.9.3. Breakage
8.9.4. Other Risks

8.10. Regulations

8.10.1. Regulations According to Application
8.10.2. Regulations by Sector
8.10.3. Regulations According to Location

Module 9. Design and Illustration with Adobe Illustrator

9.1. Preparation of the Workspace

9.1.1. What Is a Vector Graphic?
9.1.2. New Document Workspace
9.1.3. Interface

9.2. Workspace

9.2.1. Available Tools
9.2.2. Rules, Guidelines Grids
9.2.3. Worktables

9.3. Traces

9.3.1. Geometric Figures
9.3.2. Selection and Direct Selection
9.3.3. Trace

9.4. Color

9.4.1. Color and Dropper
9.4.2. Pencil
9.4.3. Brush

9.5. Shape Transformation

9.5.1. Eraser, Scissors and Blade
9.5.2. Warping, Scaling and Distortion
9.5.3. Align and Group Layers

9.6. Color and Fill Attributes

9.6.1. Pen
9.6.2. Interactive Handles and Vertexes
9.6.3. Color Library

9.7. Shapes

9.7.1. Gradient and Transparency Fusion
9.7.2. Tracehunter
9.7.3. Interactive Tracing

9.8. Fonts

9.8.1. Install the Font Manager and Fonts Character and Paragraph
9.8.2. Text Tool
9.8.3. Outline, Modify and Deform the Text Expand and Scroll

9.9. Chromatic Range

9.9.1. Chromatic Range
9.9.2. Typography and Hierarchies Imagotype
9.9.3. Creation of a Pattern and Sample

9.10. Final Art

9.10.1. Paper and Web Formats
9.10.2. Export for Printing
9.10.3. Export to Digital Media

Module 10. Vector Illustration of Packaging in Adobe Illustrator

10.1. The Vector Graphic

10.1.1. New Document Workspace
10.1.2. General Tools
10.1.3. Color

10.2. Final Arts

10.2.1. Paper and Web Formats
10.2.2. Export for Printing
10.2.3. Export to Digital Media

10.3. AI Illustration Tools

10.3.1. Combinations of Tools for Illustration in AI
10.3.2. Vectorial Compositions
10.3.3. Typography

10.4. Digital Illustration

10.4.1. AI Illustration References
10.4.2. Vector Tracing Technique and Its Derivatives
10.4.3. Application of Illustration to Packaging (In Focus: Dieline)

10.5. Sources

10.5.1. Time Optimization (Pages with free AI Motifs)
10.5.2. Versions and Modification (Vector Drawing)
10.5.3. Advantages of AI over Photoshop in Digital Illustration

10.6. Formats

10.6.1. Design on a Predetermined Format
10.6.2. Creation of the Format from Scratch
10.6.3. New Formats and Applications

10.7. Materials

10.7.1. Typical Materials and Their Applications
10.7.2. Packaging as an Object of Desire
10.7.3. New Materials

10.8. Physical Packaging

10.8.1. Labels
10.8.2. Boxes
10.8.3. Thank You Notes/Invitations
10.8.4. Wrappers

10.9. Digital Packaging

10.9.1. Newsletters
10.9.2. Banners and Web
10.9.3. The Instagram Format

10.10. Mock-Up

10.10.1. Integration of a Mock-Up
10.10.2. Free Mock-Up Portals
10.10.3. Using a Mock-Up
10.10.4. Creating Your Own Mock-Up

Module 11. Ecodesign: Materials for Packaging Design

11.1. Circular Economy in Packaging

11.1.1. Circularity in Aesthetic Environments
11.1.2. The Application of the Circular Economy in Packaging
11.1.3. The Challenges of the Circular Economy in Packaging

11.2. Sustainable Packaging Design

11.2.1. Sustainable Design Goals
11.2.2. Sustainable Design Difficulties
11.2.3. Sustainable Design Challenges

11.3. Sustainable Materials

11.3.1. Packaging Made from Naturally Sourced Materials
11.3.2. Packaging Made from Compostable Materials
11.3.3. Packaging Made from Biodegradable Materials

11.4. The Use of Plastic

11.4.1. The Effects of Plastic in the World
11.4.2. Alternatives to Plastic
11.4.3. Recycled Plastic

11.5. Sustainable Manufacturing Processes

11.5.1. Sustainable Processes in the Social Dimension
11.5.2. Sustainable Processes in the Environmental Dimension
11.5.3. Sustainable Processes in the Economic and Governance Dimension

11.6. Recycling

11.6.1. Recycled Materials
11.6.2. The Recycling Process
11.6.3. The Recycling Process in Packaging

11.7. Design Packaging for Recycling and Reuse

11.7.1. The Second Life of Packaging
11.7.2. Design for Recycling
11.7.3. Design for Reuse

11.8. Packaging Optimization and Versatility

11.8.1. When Less Is More in Packaging
11.8.2. How to Reduce Packaging without Losing Brand Value
11.8.3. When Can Packaging Be Removed without Losing Brand Value?

11.9. How to Generate Consumer Awareness of Packaging

11.9.1. Education
11.9.2. Awareness
11.9.3. Involving the Consumer in the Packaging Process

Module 12. The Structure of Packaging

12.1. Packaging Illustration

12.1.1. Packaging Culture (Resonance)
12.1.2. Digital Packaging Functions
12.1.3. Packaging Design Objectives

12.2. Structural Composition

12.2.1. Shape Selection (Structure)
12.2.2. Color Matching
12.2.3. 2D Texture

12.3. Expressive Techniques

12.3.1. Specific Illustrations
12.3.2. Abstract Illustrations
12.3.3. Humor in Packaged Products

12.4. Visual Representation Techniques

12.4.1. Associations
12.4.2. Symbolic Metaphors
12.4.3. Visual Hyperboles - Exaggerations (In Focus: Visual Hierarchy)

12.5. Conceptual Design

12.5.1. Demographic and Ethnographic Research
12.5.2. Retail Research & Digital Research
12.5.3. Brand Concept, Packaging Design (In Focus: Culture Map)

12.6. Elements of Packaging Design

12.6.1. Display Panel
12.6.2. The Brand's Imaginary
12.6.3. Concept Board (In Focus: Product Name and Brand Name)

12.7. Lettering

12.7.1. Typography
12.7.2. Line Spacing
12.7.3. Typographic Principles (In Focus: Typography and Technology)

12.8. Stages of Packaging Design

12.8.1. Structure of the Project and Briefing
12.8.2. Communicating the Strategy
12.8.3. Design Refinement and Preproduction (In Focus: Who Are Luxury Packaging Products Designed For?

12.9. The Sensory Experience

12.9.1. How Does the Packaging Sound?
12.9.2. Touch in 2D
12.9.3. Sensory Assessment (In Focus: The Virtual Sensory Experience)

12.10. Virtual Packaging

12.10.1. Packaging in the Metaverse
12.10.2. Luxury Brands
12.10.3. The Audiovisual Material Included in the Packaging (In Focus: Unboxing in the Metaverse)

Module 13. The Structure of Packaging

13.1. The Competitiveness of the Cosmetics Sector

13.1.1. Packaging Consumer Needs
13.1.2. The Broad Spectrum of Cosmetic Brands
13.1.3. Packaging Design as a Differential Value in the Cosmetics Sector

13.2. Styles in Cosmetic Design

13.2.1. Feminine Design
13.2.2. Masculine Design
13.2.3. Non-Gender Design

13.3. The Design of Cream and Soap Packaging

13.3.1. Definition of Lines: Round or Square?
13.3.2. Customization of the Front
13.3.3. Bold Patterns vs. Elegant Patterns

13.4. Cream Safety and Protection

13.4.1. Preservation of Antioxidants
13.4.2. The Risks of Poor Packaging
13.4.3. Packaging Opacity

13.5. Fragrances

13.5.1. Natural Ingredients
13.5.2. Perfume Packaging: Color or Glass
13.5.3. The Structure of the Bottle

13.6. Packaging Design for Make-Up

13.6.1. Illustrations on Shadow Boxes
13.6.2. Special Editions
13.6.3. Floral vs. Minimal Style

13.7. Packaging Trends in the Entire Packaging Process

13.7.1. Outer Packaging-Bag
13.7.2. Inner Packaging-Box
13.7.3. Product Packaging-Bottle

13.8. Creative Experimental Packaging

13.8.1. Jewelry as a Unique Piece
13.8.2. Sophistication and Elegance
13.8.3. The Magical Box

13.9. Color Selection in Jewelry Packaging Design

13.9.1. The Classic Palette
13.9.2. The Color of Gold and its Symbolism
13.9.3. Metal, a Cold and Colorless Material

13.10. Jewelry Box Designs

13.10.1. Wood Cutting: Edges and Compartments
13.10.2. Fabric or Velvet Lining
13.10.3. Jewelry Presentation Design

13.11. Luxury Jewelry Packaging

13.11.1. Leather Packaging
13.11.2. The Use of Ribbons and Satin
13.11.3. Space for the Logo

Module 14. Gourmet and Wine Packaging

14.1. Fundamentals of Gourmet Packaging

14.1.1. Practical and Aesthetic Design
14.1.2. Use of Glass and Cardboard
14.1.3. The Ergonomics of the Packaging

14.2. Information Architecture

14.2.1. Priority: Aesthetic or Functional
14.2.2. Complementary Values
14.2.3. The Message

14.3. Logo Design

14.3.1. The Isotype
14.3.2. The Isologotype
14.3.3. The Label

14.4. Essential Content for Gourmet and Wine Packaging

14.4.1. Denomination of Origin
14.4.2. Description of the Product
14.4.3. Specific Quality Seals

14.5. The Properties of Wine and Gourmet Products

14.5.1. Quality Preservation
14.5.2. Flavor Preservation
14.5.3. The Presentation

14.6. The Personality of Gourmet and Wine Brands

14.6.1. Family Inheritance
14.6.2. Inspiring Good Times
14.6.3. The Sense of Taste Enters through the Eyes

14.7. The Label

14.7.1. Types of Paper
14.7.2. Properties of the Paper
14.7.3. Additional Information (In Focus: The Use of Recycled Paper in Labels)

14.8. The Cork

14.8.1. Quality of the Cork
14.8.2. Natural Cork, Twin-Top, Agglomerated and Colmated
14.8.3. Printing on the Stopper (Procork, T-Cork, Cava or Multipiece)

14.9. Glass

14.9.1. Models and Shapes of the Glass
14.9.2. Bottle Height and Color
14.9.3. The Design of the Protective Sealing Capsules

14.10. Gourmet Packaging

14.10.1. The Product at a Glance
14.10.2. Clear, Legible and Neat Labeling
14.10.3. Designing Freshness

Module 15. Packaging and Design in Mass Consumption

15.1. Transparency in Food Packaging

15.1.1. Packaging Health
15.1.2. Plastic for Food Wrapping and Biodegradable Materials
15.1.3. Polymers

15.2. New Food Packaging

15.2.1. Biopolymers
15.2.2. Organic Acids
15.2.3. Gas and Temperature Indicators

15.3. Nano Packaging

15.3.1. Nanoparticles
15.3.2. Nanomaterials
15.3.3. Nanoemulsions

15.4. The Current Situation of Mass Consumption Packaging

15.4.1. Active Packaging
15.4.2. Intelligent Packaging
15.4.3. Smart Packaging

15.5. Mass Production

15.5.1. Packaging and Distribution
15.5.2. Primary Packaging
15.5.3. Secondary Packaging (Case: Kellogg's Boxes)

15.6. The Appearance of Mass Consumption

15.6.1. Food Photography
15.6.2. Instructive Illustrations
15.6.3. Efficient Design

15.7. Interactive Packaging

15.7.1. The Functionality of Interactive Packaging
15.7.2. Types of Interactive Packaging
15.7.3. Interactive Relationships

15.8. Food Packaging Design

15.8.1. Shape and Size
15.8.2. Fresh or Processed Foods
15.8.3. Design in Product Labeling

15.9. Commercial Packaging

15.9.1. From Common to Premium
15.9.2. Functional Design with a Twist
15.9.3. Mass Customization

15.10. Assessment of the Packaging Design

15.10.1. Is it Clear What Your Product Is?
15.10.2. Is it an Honest Representation of the Product?
15.10.3. How Will the Product Look in the Store or in 3D?
15.10.4. Versatility

Module 16. Marketing and Branding for Packaging

16.1. Artificial Intelligence in Packaging Design

16.1.1. The Activation of Creativity through Data
16.1.2. Differentiation Techniques
16.1.3. Redesign and Assessment

16.2. Branding for "Wrappers”

16.2.1. Brand Identity
16.2.2. Design Based on Branding
16.2.3. The Economic Impacts of Branding on Packaging

16.3. Digital Strategy

16.3.1. Business Strategies Linked to Identity
16.3.2. Advertising
16.3.3. Positioning Assessment

16.4. The Data Orientation Process

16.4.1. Managing Visual Communication through Data
16.4.2. Data Collection and Selection
16.4.3. Data Analysis

16.5. Premium Environment Consumption Habits

16.5.1. Key Marketing Metrics
16.5.2. Key Packaging Metrics
16.5.3. The Creation of Sequential Patterns

16.6. Innovation in the Packaging Environment

16.6.1. Creativity Management
16.6.2. Predictive Techniques
16.6.3. Simulation of Innovation Scenarios

16.7. The Use of Big Data for the Creation of the Icon

16.7.1. The Packaging Market
16.7.2. The Packaging Consumer
16.7.3. Segmentation and Value

16.8. Value Creation over Time

16.8.1. Loyalty Strategies
16.8.2. The Generation of Ambassadors
16.8.3. Efficient Management of Communications

16.9. User Experience

16.9.1. Digital Environment
16.9.2. Generating Engagement
16.9.3. The Messages

16.10. Project Management

16.10.1. Preparing the Briefing
16.10.2. Strategic Communication
16.10.3. Value Communication

Module 17. Creative Management

17.1. Packaging Evolution

17.1.1. Visual Communication
17.1.2. Speculative History of Packaging
17.1.3. Aesthetic Fundamentals

17.2. Product Narrative

17.2.1. Identify Its History. What’s the Message?
17.2.2. Identify Your Target Audience
17.2.3. Conversation between Brand and Consumer

17.3. Brand Strategy

17.3.1. Briefings
17.3.2. Own Mechanisms and Languages
17.3.3. Research Material Tendencies

17.4. Speculation Workshop

17.4.1. Art and Space Volumes
17.4.2. Physical Space I. Game, Time and Chance
17.4.3. Digital Space I. Virtual Making

17.5. Product Environment

17.5.1. Premises and Their Position
17.5.2. Physical Space II
17.5.3. Digital Space II

17.6. Technical Creativity

17.6.1. Composition
17.6.2. Exquisite Corpse: The Multiplicity of Images
17.6.3. Hypergraphics Graphics Applied to Space

17.7. Production and Development of Packaging

17.7.1. Materials as a Message
17.7.2. Traditional Techniques and Contemporary Techniques
17.7.3. Why Do We Bet on an Image?

17.8. Art Direction

17.8.1. Apply the Narrative to the Product
17.8.2. Chromatic Range and Its Meaning
17.8.3. Identify the Advertising Approach

17.9. Post-Production

17.9.1. Photography
17.9.2. Lighting
17.9.3. Effects

17.10. Entrepreneurship Project

17.10.1. Portfolio
17.10.2. Instagram
17.10.3. Reflection Workshop

Module 18. Operational Development of Packaging

18.1. The Packaging Value Chain

18.1.1. Wrapper Life Cycle
18.1.2. Functionality
18.1.3. The Role of Design in the Supply Chain

18.2. Stock Packaging

18.2.1. Storage
18.2.2. Distribution: Tracking and Tracing
18.2.3. The Integration of Operability into the Design

18.3. Retail and E-Commerce

18.3.1. The New Reality of Packaging in Physical Stores
18.3.2. Concept Stores
18.3.3. In-Home Package Design (In Focus: Standardization vs. Customization)

18.4. Industrial Packaging

18.4.1. Cost Analysis
18.4.2. Limits in Packaging Design
18.4.3. Packaging Process Assessment

18.5. Innovation in Packaging Design

18.5.1. Evolution of the Concept of Packaging
18.5.2. Quality of the Packaging
18.5.3. Shipment Management for Online Channels

18.6. Packaging Strategy

18.6.1. Primary, Secondary and Tertiary Packaging in the Packaging System
18.6.2. Product Manufacturer and Packaging Designer
18.6.3. Decision-Making

18.7. Concept Development

18.7.1. OKR Technique (Objectives and Key Results)
18.7.2. Framing Techniques
18.7.3. Canvas Technique

18.8. The Design Product

18.8.1. Prototyping (Story Map + Live Data)
18.8.2. Testing (Concierge Test + Usability/Reliability/Behavioral)
18.8.3. Assessment

18.9. Legal and Regulatory Aspects

18.9.1. Intellectual Property
18.9.2. Forgery
18.9.3. Confidentiality

18.10. The Packaging Designer's Profession

18.10.1. Stakeholders
18.10.2. Workplace Environment
18.10.3. Work Relationships with Customers

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