Learn how to turn ideas into impactful and notorious multimedia projects, with the most up-to-date knowledge of this sector in a comfortable and flexible program"

Through an exclusive methodology this Professional master’s degree will take you into the territory of audiovisual culture. Graphic design professionals need to know the audiovisual phenomena that move in the same paradigms of graphic communication. The influence of some media on others, the different combinations of media and the new graphic products that incorporate different techniques and approaches from other communicative areas, are a knowledge that will open new lines of thought and work. 

In this sense, having knowledge in all possible aspects of work is a gateway to very interesting possibilities and new avenues to explore. 

Therefore, this program will address the aspects that a designer needs to know to plan, develop and finalize any audiovisual project. A formative program that will help students to achieve success in the challenges of a first-class professional.

Multimedia 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 Multimedia Design"

This Professional master’s degree in Multimedia Design contains the most complete and up-to-date program on the market. The most important features 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 field
• Practical Exercises where the Self-assessment Process can be Carried Out in Order 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

A complete and up-to-date program that will allow you to learn all the tools you need to develop multimedia projects, with a clear vision in the practical learning of its use"

The Development of this Course is Focused on the Practice of 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, TECH strives to convert its efforts into real and immediate competencies.

The online system is another strength of the educational program. With an interactive platform that has the advantages of the latest technological developments, the most interactive digital tools made available. This way, it is possible to offer a way of learning that is totally adaptable to students’ needs, so they can perfectly combine this program with their personal or working life.

Boost your profession by incorporating the professional's perspective, through a complete program designed to teach you how to turn ideas into projects"

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

In this Professional master’s degree, you will find all the theoretical and practical content you need to address each of the situations that the development of multimedia projects requires from professionals. With the study of the most appropriate tools and techniques for each project, you will be given a boost that will turn creativity into saleable and appreciable realities for any company in the sector.

A complete journey of professional growth that will bring you up to date on everything the Multimedia Design professional needs to master to excel in their profession"

Module 1. Audiovisual Culture

1.1. Postmodernity in the Audiovisual Sector

1.1.1. What Is Postmodernity?
1.1.2. Mass Culture in the Postmodern Era
1.1.3. The Irruption of Argumentative Discourse
1.1.4. The Culture of Simulacrum

1.2. Semiotics: Symbols in Audiovisual Culture

1.2.1. What Is Semiotics?
1.2.2. Semiotics or Semiology?
1.2.3. Semiotic Codes
1.2.4. Visual Motifs

1.3. Learning to Look

1.3.1. Image and Context
1.3.2. The Ethnographic Perspective
1.3.3. Photography as a Crossroads of Perspectives
1.3.4. Visual Anthropology

1.4. Image Composition

1.4.1. Notes
1.4.2. Dynamic Balance
1.4.3. Weight and Visual Direction
1.4.4. Basic Rules

1.5. Aesthetics in Audiovisuals

1.5.1. What Is Aesthetics?
1.5.2. Aesthetic Categories
1.5.3. The Grotesque and the Abject
1.5.4. Kitsch and Camp

1.6. New and Renewed Audiovisual Forms

1.6.1. Viral Video Art
1.6.2. Big Data as an Artistic Practice
1.6.3. Video Mapping
1.6.4. The VJs

1.7. Intertextuality as a Creative Strategy

1.7.1. What Is Intertextuality?
1.7.2. Quotation
1.7.3. Allusion
1.7.4. Plagiarism
1.7.5. Appropriationism
1.7.6. Self-Referentiality
1.7.7. Parody

1.8. Dialogue between the Arts

1.8.1. Intermediality
1.8.2. The Hybridization of the Arts
1.8.3. Classicism and the Separation of the Arts
1.8.4. Romanticism and the Definitive Union of the Arts
1.8.5. The Total Art in the Avant-Garde
1.8.6. Transmedia Narratives

1.9. The New Cinema

1.9.1. The Relationship between Cinema, Culture and History
1.9.2. An Unpredictable Technological Evolution
1.9.3. Cinema Is Dead!
1.9.4. Expanded Cinema

1.10. The Rise of the Documentary Film

1.10.1. Documentaries
1.10.2. Objectivity Strategies
1.10.3. The Rise of the Mockumentary
1.10.4. Found Footage

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 Colorants

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 their Derivatives
2.2.4. Chromatic Relationships: Harmony and Contrast

2.3. Color Psychology

2.3.1. Construction of the Meaning of a Color
2.3.2. Emotional Load
2.3.3. Denotative and Connotative Values
2.3.4. Emotional Marketing. The Charge of the Color

2.4. Color Theory

2.4.1. A Scientific Theory. Isaac Newton
2.4.2. Goethe’s Theory of Colors
2.4.3. Joining Goethe’s Color Theory
2.4.4. Psychology of Color According to Eva Heller

2.5. Insisting on Color Classification

2.5.1. Guillermo Ostwald’s Double Cone
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. Individual Study of Colors

2.6.1. White and Black
2.6.2. Neutral Colors. The Gray Scale
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. Pantone Color Charts

2.8. From Bauhaus to Murakami

2.8.1. Bauhaus and its Artists
2.8.2. Gestalt Theory of Color
2.8.3. Josef Albers. The Interaction of Color
2.8.4. Murakami: Connotations of the Absence of Color

2.9. Color in Project Design

2.9.1. Pop Art. Color of Cultures
2.9.2. Creativity and Color
2.9.3. Contemporary Artists
2.9.4. Analysis of Diverse Optics 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. Audiovisual Language

3.1. Audiovisual Language

3.1.1. Definition and Structure
3.1.2. The Functions of Audiovisual Language
3.1.3. The Symbols of Audiovisual Language
3.1.4. History, Sequence, Scene, Shot, Frame

3.2. Camera and the Sound

3.2.1. Basic Concepts
3.2.2. Camera Lenses
3.2.3. The Importance of Sound
3.2.4. Complementary Materials

3.3. The Composition of the Frame

3.3.1. Frame Perception
3.3.2. The Gestalt Theory
3.3.3. Principles of Composition
3.3.4. Lighting
3.3.5. Assessing Shades

3.4. The Space

3.4.1. The Film Space
3.4.2. On-Screen and Off-Screen
3.4.3. Types of Spaces
3.4.4. The No-Spaces

3.5. Time

3.5.1. The Filming Time
3.5.2. The Sense of Continuity
3.5.3. Changes in Time: Flashback and Flashforward

3.6. Dynamic Printing

3.6.1. Rhythm
3.6.2. The Assembly as a Marker of Rhythm
3.6.3. The Origins of Assembly and Its Relationship to Modern Life

3.7. The Movement

3.7.1. Types of Movement
3.7.2. Camera Movements
3.7.3. Accessories

3.8. Film Grammar

3.8.1. The Audiovisual Process Scale
3.8.2. The Shot
3.8.3. Types of Shots
3.8.4. Types of Shots According to the Angle

3.9. The Dramatization of the Plot

3.9.1. Script Structure
3.9.2. History, Argument and Style
3.9.3. The Syd Field Paradigm
3.9.4. Types of Narrators

3.10. Character Building

3.10.1. The Character in Today’s Narrative
3.10.2. The Hero According to Joseph Campbell
3.10.3. The Post-Classical Hero
3.10.4. Robert McKee’s 10 Commandments
3.10.5. Character Transformation
3.10.6. Anagnorisis

Module 4. Motion Graphics

4.1. Introduction to Motion Graphics

4.1.1. What Is a Motion Graphic?
4.1.2. Function
4.1.3. Features
4.1.4. Motion Graphic Techniques

4.2. Cartooning

4.2.1. What Is It?
4.2.2. Basic Principles of Cartooning
4.2.3. Volumetric vs. Graphic Design
4.2.4. References

4.3. Character Design Throughout History

4.3.1. The 20s: Rubber Hose
4.3.2. The 40s: Preston Blair
4.3.3. The 50s and 60s: Cubism Cartoon
4.3.4. Complementary Characters

4.4. Introduction to Character Animation in After Effects

4.4.1. Animation Method
4.4.2. Vector Movement
4.4.3. Animated Principles
4.4.4. Timing

4.5. Project: Character Animation

4.5.1. Ideas Generation
4.5.2. Storyboard
4.5.3. First Phase in Character Design
4.5.4. Second Phase in Character Design

4.6. Project: Layout Development

4.6.1. What Do We Understand by Layout?
4.6.2. First Steps in Layout Development
4.6.3. Consolidating Layouts
4.6.4. Creating the Animatic

4.7. Project: Visual Development of the Character

4.7.1. Visual Development of the Character
4.7.2. Visual Development of the Background
4.7.3. Visual Development of the Extra Elements
4.7.4. Corrections and Adjustments

4.8. Project: Scene Development

4.8.1. Creating Sketches
4.8.2. Styleframes
4.8.3. Prepare Designs for Animation
4.8.4. Corrections

4.9. Project: Animation I

4.9.1. Scene Configuration
4.9.2. First Movements
4.9.3. Fluidity of Movement
4.9.4. Visual Corrections

4.10. Project: Animation II

4.10.1. Animating the Character’s Face
4.10.2. Considering Facial Expressions
4.10.3. Animating Actions
4.10.4. Action of Walking
4.10.5. Submission of Proposals

Module 5. Design for Television

5.1. The Television World

5.1.1. How Does Television Influence Our Lifestyle?
5.1.2. Some Scientific Data
5.1.3. Graphic Design in Television
5.1.4. Design Guidelines for Television

5.2. Television Effects

5.2.1. Learning Effects
5.2.2. Emotional Effects
5.2.3. Answer Effects
5.2.4. Behavioral Effects

5.3. Television and Consumption

5.3.1. Television Advertising Consumption
5.3.2. Measures for Critical Consumption
5.3.3. Viewers’ Associations
5.3.4. New Platforms in Television Consumption

5.4. Television Identity

5.4.1. Talk about Television Identity
5.4.2. Identity Functions in Television Media
5.4.3. TV Branding
5.4.4. Graphical Examples

5.5. Screen Design Specifications

5.5.1. General Specifications
5.5.2. Security Area
5.5.3. Optimization
5.5.4. Text Considerations
5.5.5. Image and Graphics

5.6. Adobe After Effects: Getting to Know the Interface

5.6.1. What Is This Program For?
5.6.2. Interface and Workspace
5.6.3. Main Tools
5.6.4. Create Compositions, Save File and Render

5.7. Adobe After Effects: First Animations

5.7.1. Layers
5.7.2. Keyframes Keyframes:
5.7.3. Animation Examples
5.7.4. Speed Curves

5.8. Adobe After Effects: Text Animations and Backgrounds

5.8.1. Creating Screens to Animate
5.8.2. Screen Animation: First Steps
5.8.3. Screen Animation: Getting to Know the Tools
5.8.4. Editing and Rendering

5.9. Sound in Audiovisual Production

5.9.1. Audio is Important
5.9.2. Basic Principles of Sound
5.9.3. Working with Sound in Adobe After Effects
5.9.4. Exporting Sound in Adobe After Effects

5.10. Creating a Project in Adobe After Effects

5.10.1. Visual References
5.10.2. Project Characteristics
5.10.3. Ideas, What Do I Want to Do?
5.10.4. Making My Audiovisual Project

Module 6. 2D Animation

6.1. Introduction to 2D Animation

6.1.1. What Is 2D Animation?
6.1.2. Origin and Evolution of 2D
6.1.3. Traditional Animation
6.1.4. Projects Carried out in 2D

6.2. Principles of Animation I

6.2.1. Context
6.2.2. Squash and Stretch
6.2.3. Anticipation
6.2.4. Staging

6.3. Principles of Animation II

6.3.1. Straight Ahead Action and Pose to Pose
6.3.2. Follow Through and Overlapping Action
6.3.3. Slow In and Slow Out
6.3.4. Arcs
6.3.5. Secondary Action

6.4. Principles of Animation III

6.4.1. Timing
6.4.2. Exaggeration
6.4.3. Solid Drawing
6.4.4. Appeal

6.5. Digital Animation

6.5.1. Digital Key Animation and Interpolation
6.5.2. Cartoon animation vs. Virtual Characters
6.5.3. Digital Animation with Nesting and Logic
6.5.4. Emergence of New Animation Techniques

6.6. Team Animation Roles

6.6.1. Animation Director
6.6.2. Animation Supervisor
6.6.3. The Animator
6.6.4. The Assistant and the Interleaver

6.7. 2D Animated Short Films References

6.7.1. Paperman
6.7.2. Morning Cowboy
6.7.3. My Moon
6.7.4. Practice I: In Search of Short Films

6.8. Animation Project: Build Your City

6.8.1. Initiation: 3D Tool in Illustrator
6.8.2. Choice of Typeface
6.8.3. Development of the City
6.8.4. Construction of Secondary Elements
6.8.5. The Cars

6.9. Animation Project: Animating Elements

6.9.1. Exporting to Adobe After Effects
6.9.2. Animating Main Elements
6.9.3. Animating Secondary Elements
6.9.4. Final Animation

6.10. Adapt to New Screens End of Project

6.10.1. Innovative Screens
6.10.2. Render
6.10.3. HandBrake
6.10.4. Introduction

Module 7. Animation Projects

7.1 Introduction to Stop Motion

7.1.1. Definition of Concept
7.1.2. Differences between Stop Motion and Cartoons
7.1.3. Stop Motion Uses and Principles
7.1.4. Types of Stop Motion

7.2. Historical Context

7.2.1. The Start of Stop Motion
7.2.2. Stop Motion as a Visual Effects Technique
7.2.3. The Evolution of Stop Motion
7.2.4. Bibliographical References

7.3. Thinking of Animation

7.3.1. Basic Animation Concepts
7.3.2. Materials and Tools
7.3.3. Stop Motion Animation Software
7.3.4. Stop Motion Studio for Cell Phones

7.4. Technical Aspects of Stop Motion

7.4.1. The Camera
7.4.2. Lighting
7.4.3. Editing
7.4.4. Editing Programs

7.5. Creating Stories

7.5.1. How to Create a Story?
7.5.2. Elements in the Narrative
7.5.3. Figure of the Narrator
7.5.4. Tips for Creating Short Stories

7.6. Creating Characters

7.6.1. Creative Process
7.6.2. Types of Characters
7.6.3. Character Sheet
7.6.4. Practice I: Create a Character Sheet

7.7. The Creation of Stop Motion Puppets

7.7.1. Storytelling with Puppets
7.7.2. Granting Characteristics
7.7.3. Materials
7.7.4. Visual References

7.8. Creating Scenes

7.8.1. Scenography
7.8.2. The Importance of a Good Scene
7.8.3. Budget Delimitation
7.8.4. Visual References

7.9. Animation in Stop Motion

7.9.1. Object Animation
7.9.2. Cutout Animation
7.9.3. Silhouettes
7.9.4. Shadow Theater

7.10. Stop Motion Projects

7.10.1. Presentation and Explanation of the Project
7.10.2. Search for Ideas and References
7.10.3. Preparing Our Project
7.10.4. Analysis of Results

Module 8. Modeling

8.1. Introduction

8.1.1. Volume
8.1.2. Volume and Capacity
8.1.3. Types of 3D Modeling Software
8.1.4. Modeling Projects References

8.2. 3D Infographics

8.2.1. What Are 3D Infographics?
8.2.2. Types. Visual References
8.2.3. 3D Computer Graphics in the Architectural Field
8.2.4. Types of 3D Infographics

8.3. Introduction to Blender

8.3.1. Getting to Know the Interface
8.3.2. Panels and Perspectives
8.3.3. Render
8.3.4. Practice I: Creating a Render

8.4. Blender Elements

8.4.1. 3D Text
8.4.2. Color and Textures
8.4.3. 3D Animation
8.4.4. Modeling for 3D Printing

8.5. Lighting in Blender

8.5.1. Ambient Lighting
8.5.2. Practice II: Setting Up a Scene with Ambient Lighting
8.5.3. Indirect Lighting
8.5.4. Practice III: Setting Up a Scene with Indirect Lighting

8.6. Guided Realization of Objects in Blender

8.6.1. Exercise 1: Free Composition
8.6.2. Exercise 2: Modeling a Glass
8.6.3. Exercise 3: Modeling a Cup
8.6.4. Exercise 4: Modeling a Chair

8.7. Modeling from Given Features

8.7.1. Model 1: Copy the Element According to the View
8.7.2. Model 2: Model Organic Element
8.7.3. Model 3: Object with Glass Surface
8.7.4. Model 4: Light Transmitting Object

8.8. Project: Art Showroom

8.8.1. Presentation and Explanation of the Project
8.8.2. What Is the Theme of My Room? Justification
8.8.3. Project Objectives
8.8.4. Naming Ideas and 3D Design

8.9. Art Showroom: Design on Floor Plan

8.9.1. Sketches of the Artistic Room on Floor Plan
8.9.2. Consideration of Measurements
8.9.3. Raising Blender Floor Plans
8.9.4. Application of Color, Textures, Detail Correction

8.10. Artistic Exhibit Hall: Placement of Elements

8.10.1. Design of Extra Elements Rendering
8.10.2. Location of Elements Shots
8.10.3. Lighting Location Shots
8.10.4. Final Presentation Rendering

Module 9. Digital Photography  

9.1. Introduction to the Contemporary Photographic Medium

9.1.1. Origins of Photography: The Camera Obscura
9.1.2. Fixing Images Milestones: The Daguerreotype and the Calotype
9.1.3. Pinhole Camera
9.1.4. The Photographic Snapshot Kodak and the Popularization of the Medium

9.2. Principles of Digital Photography

9.2.1. Street Photography: Photography as a Social Mirror
9.2.2. Digital Image Fundamentals
9.2.3. JPG and RAW
9.2.4. Digital Laboratory

9.3. Concepts, Equipment and Photography Techniques

9.3.1. Camera: Visual Angle and Lenses
9.3.2. Exposure Meter Exposure Adjustment
9.3.3. Image Control Elements
9.3.4. Practice I: Controlling the Camera

9.4. Lighting

9.4.1. Natural Light and Its Importance
9.4.2. Properties of Light
9.4.3. Continuous Light and Modeling Light
9.4.4. Lighting Schemes
9.4.5. Accessories to Manipulate Light
9.4.6. Backgrounds Commercial Tools

9.5. Flash

9.5.1. Main Functions of a Flash Unit
9.5.2. Types of Flash
9.5.3. Torch Flash
9.5.4. Advantages and Disadvantages

9.6. Photography with Professional Camera

9.6.1. Lifestyle Photography Searching for Corners
9.6.2. Practice II: Light Effects
9.6.3. Practice III Negative Spaces
9.6.4. Practice IV: Capture Emotion

9.7. Mobile Photography: Introduction

9.7.1. Our Pocket Camera and Other Materials
9.7.2. Achieving the Best Quality
9.7.3. Composition Tricks
9.7.4. Creating Ambience

9.8. Mobile Photography: Project

9.8.1. Flat Lay
9.8.2. Indoor Photography
9.8.3. Creative Ideas Where to Start?
9.8.4. Practice VI: First Photographs

9.9. Mobile Photography: Editing

9.9.1. Editing Photos with Snapseed
9.9.2. Editing Photos with VSCO
9.9.3. Editing Photos with Instagram
9.9.4. Practice IV: Editing Your Photographs

9.10. The Creative Photography Project

9.10.1. Reference Authors in Contemporary Photographic Creation
9.10.2. The Photographic Portfolio
9.10.3. Visual Portfolio References
9.10.4. Build Your Results Portfolio

Module 10. Typography

10.1. Introduction to Typography

10.1.1. What is Typography?
10.1.2. The Role of Typography in Graphic Design
10.1.3. Sequencing, Contrast, Shape and Countershape
10.1.4. Relationship and Differences between Typography, Calligraphy and Lettering

10.2. Multiple Origins of Writing

10.2.1. Ideographic Writing
10.2.2. The Phoenician Alphabet
10.2.3. The Roman Alphabet
10.2.4. The Carolingian Reform
10.2.5. The Modern Latin Alphabet

10.3. The Beginnings of Typography

10.3.1. The Printing Press, a New Era. First Typographies
10.3.2. The Industrial Revolution: Lithography
10.3.3. Modernism: The Beginnings of Commercial Typography
10.3.4. The Avant-Garde
10.3.5. Interwar Period

10.4. The Role of Design Schools in Typography

10.4.1. Bauhaus
10.4.2. Herbert Bayer
10.4.3. Gestalt Psychology
10.4.4. Swiss Design

10.5. Current Typography

10.5.1. 1960-1970, Precursors of the Uprising
10.5.2. Post-Modernism, Deconstructivism and Technology
10.5.3. In What Direction is Typography Going?
10.5.4. Typographies that Mark Trends

10.6. The Typographic Form I

10.6.1. Anatomy of Letters
10.6.2. Measurements and Attributes of the Type
10.6.3. Typographic Families
10.6.4. High Box, Low Box and Small Caps
10.6.5. Difference between Typography, Font and Typeface Family
10.6.6. Fillets, Lines and Geometric Elements

10.7. The Typographic Form II

10.7.1. The Typographic Combination
10.7.2. Typeface Formats (PostScript-TrueType-OpenType)
10.7.3. Typographic Licenses
10.7.4. Who Should Buy the License? The Client or the Designer?

10.8. Typographic Correction: The Composition of the Text

10.8.1. Spacing Between Letters: Tracking and Kerning
10.8.2. Space Between Words. Quad
10.8.3. Line Spacing
10.8.4. The Body of the Text
10.8.5. Attribute of the Text

10.9. The Drawing of the Letters

10.9.1. Creative Process
10.9.2. Traditional and Digital Materials
10.9.3. The Use of the Graphics Tablet and the iPad
10.9.4. Digital Typography: Contours and Bitmaps

10.10. Typographic Posters

10.10.1. Calligraphy as a Basis for the Drawing of Letters
10.10.2. How to Create a Typographic Composition that Makes an Impact?
10.10.3. Visual References
10.10.4. Doodle Phase
10.10.5. Project

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