Complete the enrollment process at www.elisava.net
Is there a frontier between typography and graphic design?Typography is graphic design in its pure state, it’s functionality, it's expression, it’s the drawing of the sign converted into a convention, it’s the design and organization of complex communication systems. We can not understand the profession of graphic design without typography.
In a time when graphic design has been diluted in a wide variety of fields of application, and where crafts and technology coexist in the same reality, typography has become the fundamental objective of this profession. Can you aspire to be a good graphic designer without having a deep knowledge and your own criterion for typography?
The MTC emphasizes the role of typography as an essential axis of the graphic design profession and its ability to articulate this profession from a rigorous, creative, open and always evolving perspective.
Jesús Morentín (Bunker Type)
Laura Meseguer (Alfabeto Latino)
The MTC is articulated around the project of creating a text typeface. An intense pedagogical process and whose methodology can be extrapolated to different areas of the graphic design project.
Design to use
In this master, we will project, design, and produce a typeface family, for later applying it to a graphic design project. Designing a typeface is to program a communication system. This learning process is directly related to the expansion of conceptual and formal skills that allow a better professional development within the field of graphic design.
Structure and methodology
Since the explosion of digital technology, the barriers between the graphic design discipline and typographic creation and production have been broken. In this specialized master the analogic and digital are mixed with depth and intensity, two realities that are more complementary than ever.
In the Master in Typographic Creation, microtypography coexists in its deepest essence: the creation of a typographic family from sketch to production; with the macrotypography: the use of the letter, the word and the text in diverse supports. We will complement the most rigorous processes and methodologies with creativity and a widely open exploration.
Step by step we will immerse ourselves in the calligraphic origins of typography, in the creation and application of lettering in commercial areas, also in typography as an expressive tool, in the design and production of complex typeface families for communication projects, and we will explore the conceptual and formal limits of typography.
With all this experience the student will develop a final project, where he or she will be able to deepen in the aspects more related to his professional interests. From the production of commercial typefaces to the art direction of graphic communication projects which
backbone is in the typographic creation.
The master’s degree deals with the practice of design and typographic creation through different formats and from multiple perspectives.
We seek to train graphic and typographic designers with the ability to adapt themselves to a changing profession in which they can develop their own vision, consistent, open and transversal at the same time. The master is structured around the following teaching modules:
How to create, project, design, organize, draw and produce a typeface family. The student will be guided in the use of conceptual and practical tools. As well as in the methodology and the work process to tackle a complex and professional typographic project.
History and panorama
The origin and evolution of the typographic form. Historical, social and technical contexts that influence the design and use of typography. And the contemporary panorama as a paradigm of the evolution of a communication system in constant adaptation to communication environments.
Structure and expression
Practical workshops to understand how the calligraphic tools determines the structure and typographic form. Exploration of the potential of writing tools and lettering as expressive vehicles.
Typography and brands
The logotype and the wordmark as the central unit of typographic design. We will work on how the shape of the word defines the identity, personality and connotations of a brand.
Typography as image
In contemporary visual culture, the letter ceases to be a readable unit to become a suggestive image. We are going to join Art Direction and typography, two disciplines that have been presented as different and isolated, but that have much to do with each other.
The limits of typography
At the master's more experimental area we will explore the limits of typography, breaking rules and burying orthodoxy. Which are the limits? How typography adapts to current channels, formats and possibilities? Beyond the bidimensionality, the three dimensions, space and movement generate a new scenario to explore.
FAacing the process of typographic creation through physical and volumetric materialization, light or texture. We will seek new perspectives of perception and typographic expression that may help to complement or improve the conceptualization of the graphic design project.
The letter, the word, the line, the paragraph, and the text. Typography applied in offline and online contexts. Tools and layout environments. This module is focused as a complement to provide presentation tools
for the final project.
Advanced vectorial drawing, metrics, kerning, composites, interpolation, features, hinting, programming and production tools. Plus an overview of different tools, methodologies and techniques of expression and typographic application.
Work and learn alongside a passionate group of typographers and type design professionals with international prestige.
Theory and practice
Beyond the concept, graphic designers have to deal with complex formal and practical aspects that influence the result and quality of their work. That is why we consider experience and practice as crucial, based on professional assumptions and on a solid theoretical basis.
Students and professionals
You will be part of a group of highly motivated designers who, like you, want to take their career to the highest level. You will work in an environment that will help to develop the best of yourself. Complementing your training with new knowledge, skills, and tools that will broaden your professional perspectives within the field of graphic design.
The teacher as a model
A passionate and contrasted group of professionals will guide you from their experience and the knowledge of the profession to find your own answers and to be able to make decisions by developing your own criteria.
Individual and teamwork
Once the paradigm of design team
education has been consolidated, we will work collectively organized in order to obtain better results and a more enriching experience during the work process. In the master’s degree, the individual work for the main project will be combined with teamwork along the different teaching modules.
Oriol Miró y Joancarles Casasín
Showcases and Case Studies
Sessions with professionals who, through their experiences, will allow you to contrast different professional realities, and obtain new visions, references and reflections that extend the knowledge and practice of the profession.
Relevant figures of the international scene, with recognized trajectory and prestige, will give you the opportunity to know first-hand experiences and cases studies related to different fields of design and typographic expression.
The final project
You will be able to choose between the option of expanding your typeface family project or choose any of the work areas developed along the teaching modules, thus adapting your portfolio to your personal and professional interests.
Not only for typographers!, the MTC is an ideal master for graphic designers who want to deepen and push to the limit
their knowledge and experience in typography.
One edition of the master’s course is held each academic year, and it is held in Spanish.
Number of Students
A maximum of 20 students will be selected in each edition of the program. Once the registration period is open, the candidate selection process is ongoing as the pre-registrations become effective.
Who can apply
Preferably students with a graduate degree in graphic design and professional practitioners with experience.
Exceptionally, depending on their portfolio and accomplishments, graduates in fine arts, communication and adverstising will be accepted.
Applicants must be proactive and autonomous when using design software.
Iñigo Jerez, Director
Laura Meseguer, Co-director
Month of September
Wednesday, Thursday and Friday.
From 5pm to 9.15pm.
Workshops from Monday to Friday.
*For academic reasons, exceptionally sessions may be scheduled outside these hours.
One edition in Spanish (MCT)
Some workshops could use English as a vehicular language, with support in Spanish if required or necessary.
Almost all the lectures and some showcases or case studies are done in English.
Academic year 2018-2019
(plus 500 € in concept of registration fee)
Master’s Degree in Typographic Creation, degree awarded by Pompeu Fabra University (UPF) and ELISAVA Barcelona School of Design and Engineering.
Due to our interest in the continuous improvement of the program and the professional reality of our teachers, we reserve the right to make changes in the contents and faculty of the Master.
gives the workshop Beyond Tools in the MGD and teaches Tools and Programming at the MCT
Born in Barcelona, from where escaped a few years ago. He started his interest in digital typography in the early nineties and since 2005 his work is exclussively devoted to custom type design and font production.
Self-taught, writes small tools to make his and other's life easier and exciting and to flee from the software’s dictatorship.
Checks email manually.
"We design (un)consciously restricted by the existing software features. We mostly depend on tools created by engineers and not designers. Programming allows you to take your own path, a new way of thinking, a new approach far from the usual. It’s a creative singletrack that skips the road. It’s not an easy path, but it’s full of new and awesome adventures."
teaches Structure and Expression at the MCT
Ivan Castro was born in the outskirts of Barcelona at the end of the 70s, and since he was very young he showed an unusual interest in the forms of letters, drawing Gothic and the S of Superman here and there. Thirty years later, he earns his living doing more or less the same, that is, calligraphy and lettering.
He combines the work of his studio near Barcelona, from which he works for the whole world as a calligrapher and graphic designer, with teaching at schools such as Elisava, BAU or Visions, also giving lectures and workshops where he is needed. Recently he has published the manual The ABC of Lettering.
"The origin of the typographical forms comes from Calligraphy: we have 20 centuries of history of the written Latin alphabet against only 5 of the printed letter. Making calligraphy is important in order to make decisions during the design process of a typeface.
It is also true that when it comes to drawing letters, it is vital to know how to reinterpret the forms inherited from the calligraphic tools to take them to a more purely typographic language, in which we can make the decisions that give character to our project. In my classes, the student will learn to move from the written to the drawn letter."
is the MCT director and teaches Type Design, also Typography Consultant in de MED
Founding partner and creative director of Extra!, a graphic design and visual communication studio founded in Barcelona in 2006, from where he has worked for a great diversity of companies and institutions, developing projects of corporate identity, packaging, art direction, editorial, web design, and typographic design for different companies and institutions.
Born in Palma de Mallorca in 1972. He studied illustration at the School of Arts and Crafts in Palma de Mallorca. He moved to Barcelona to study graphic design at the Center d'Art i Disseny Escola Massana and later typography at the Parsons School of Design in New York. He teaches typography and typographic design in several schools and universities in Barcelona since 2000.
He has won Laus awards for Dinamo and Suite typefaces, certificates of typographic excellence granted by ATypI for Latin and On typefaces, and typographic excellence certificates granted by Type Directors Club for Suite and Quixote typefaces. He has carried out typographic identity projects for the Generalitat de Catalunya, Banco Santander, Caixa Catalunya, Wallapop and FCBARCELONA, among others.
Three-dimensional Typography at the MCT
After starting his career in Industrial Design at the Escola de Disseny Elisava (Barcelona), Borja Martínez moved to London in 1999 to study Graphic Design at the London College of Printing (today, London College of Communication). In 2004, he returned to Barcelona to work at Gráfica and, a year later, at Basedesign as part-time. In 2005, Borja Martínez founded the solo studio Lo Siento.
Today, Lo Siento continues to work on projects in the fields of corporate design, packaging, restaurant business or web design and exhibitions. The most characteristic feature of LoSiento’s work is its physical and material approach to graphics solutions, resulting in a design in which the graphic and the industrial coexist, in a constant search for alliances with artisanal processes.
"Lo Siento presents a course, in which they will break the pre-established rules in the creation of typefaces. Through physical and volumetric materialization, we will give to our work more personality using elements such as material, volume, light or texture. These elements will allow us to enhance the plastic value of typography.
Facing the typographic creation process through other tools, less used in this discipline, will expand our approach, not only to the typographic creation but any graphic project that we could face".
is the MCT co-director and teaches Type Design
Laura Meseguer is a freelance graphic and type designer. Her studio works for international and domestic clients but also in self-initiated projects. In 2003–2004, she took a year off to study type design at the Master Type and Media of the KABK in The Hague. Through her own type foundry, Type-Ø-Tones, she publishes and promotes her type designs, some of which have been awarded by the Laus Awarda and the Type Directors Club of New York.
She is specialized in all sorts of projects involving custom lettering and type design, for branding and publishing design. For her personal practice she gets the inspiration from what is around and focuses in projects that explore the expressivity of letterforms. She is the author of TypoMag. Typography in Magazines, and co-author of the book “Cómo crear tipografías. Del boceto a la pantalla”, published by Tipo e.
teaches The Limits of Typography at the MCT
Bruno Sellés (Barcelona, 1976) is a self-taught graphic designer and typographer. Since 1997 he is the founder and creative director of the design and branding studio Vasava, based in Barcelona. Vasava's mission is to help brands connect with their audience through ideas and strategic design solutions, uniting tradition and vanguard.
Bruno has designed several typeface families such as Synopsis or Matchpoint distributed by MyFonts and custom fonts for brands such as FC Barcelona, Atlético de Madrid, Etihad Airlines, Cristiano Ronaldo or Mango. He has participated in design conferences and schools around the world, in cities such as Seoul, New York, Los Angeles, Stockholm, Beijing and Buenos Aires.
"In the more experimental area of the master we will explore the limits of typography breaking rules and burying orthodoxy. For a while now
–small in history, but revolutionary in its impact– typography has been freed from the tyranny of paper and now its power as an expressive and communication tool runs in digital, audiovisual, augmented reality, responsive typography...
Which are the limits? How is typography adapted to new channels, formats and current possibilities? The two-dimensional typography is something already overcome and the three dimensions, space and movement generate a new scenario that can not be ignored for a complete understanding of the environment ".