Master in Graphic Design
How do graphic designers become creative directors?
In a context of constant change, designers need to be versatile, with a command of the different disciplines, processes and languages of graphic design.

In today’s world, design is more visible than ever. It is an integral part of companies’ decision-making processes and has been incorporated into the economic sphere, the business world and the institutional realm in how products and services are defined.

Designers are a common presence on the teams responsible for developing new activities and initiatives. They are responsible for creating integrating strategies and for giving new proposals conceptual, formal and functional coherence.

From verbal and visual identities, editorial design and packaging to environmental graphics, digital, and audio-visual, designers work to make each project both consistent and unique from the concept stages all the way through to implementation.

Methodology
The Master draws on a holistic perspective to help students shift their practice toward that of a creative director: a professional capable of engaging in complex project management, moving comfortably between the different disciplines of graphic design, coordinating and supervising teams.

The practice of design needs decisive professionals with a mind of their own and a broad perspective on contemporary design. We want our Master’s programme to prepare students to meet those requirements through active experimentation and practical learning, with the support of quality professionals.

The Master develops a comprehensive project that brings together seven disciplines of graphic design: verbal identity, visual identity, editorial, packaging, signage, digital and audio-visual. Students will receive constant support from teachers throughout the process so that they can develop their projects’ full potential while maintaining a balance between reflection, planning and action.

Teamwork

Design today is practiced collectively, and we want this transformation to be reflected in our Master’s programme. Working smart and effectively to produce quality implies contrasting, collaborating and sharing. Therefore, during the Master, each student will form a team with one other student in the pursuit of a meaningful and fruitful collaboration.

Practice makes perfect
The Master’s programme is based on an eminently practical perspective: experience offers us most of the keys to design.

Real-world applications
This Master’s course is intended to orchestrate a fluid transition between the academic and professional worlds. We want students to develop the best parts of themselves, to fuel their motivation and generate a working environment that closely mirrors the professional world.

Students and professors:
a collaboration
The programme faculty includes prestigious design professionals who play an active role in student development. Their experience and knowledge will serve as the source of constant advice in the search for solutions, to guide students in making their own decisions and developing their own perspectives.

1
Fundamentals

Each course focuses on a current topic of interest, proposed by the programme directors, which will help students to explore and experience how graphic design can be a tool for change and progress in society.
Students will work in pairs, and each team will define their own brief, using the proposed topic as a starting point.

— Team formation
Before beginning work on the content of the programme, students will have some time to get to know each other through practical exercises. This is the initial phase in choosing a project partner.
The aim is to provide students with techniques and tools for collaboration and joint creation, which they will use throughout the year.

— Strategic thinking
Brands are the visible part of the strategy of an organization connecting with their audiences. Today brands should create strong, long-lasting and meaningful connections. Several profiles are involved in the creation of a brand and all should speak the same language to be aligned during the process. Any decision on the "brand expression", in which a graphic designer plays a significant role, should be anchored on the strategic "brand definition". That's why we should think before designing.

— Research for Design
Bringing research into a design process allows us, on the one hand, to increase our knowledge about a context, and on the other hand, define a design mindset based on empathy and critical awareness. The main goal of this subject is to learn and apply straightforward research techniques that will increase our excellence.

2
Master project

We apply a problem-solving dynamic, similar to what would be required in a professional context, to develop seven areas or disciplines of graphic design. The aim is to approximate a comprehensive graphic project. Examining the versatility designers must cultivate in order to respond to the different needs, environments, processes and languages, we develop a global and multidisciplinary vision of the practice of design.

— Verbal identity
Many designers don’t like to write. Take it easy; this is all about thinking. Because a name isn’t just a name, it’s the conceptual foundation for building a brand. A baseline is explanatory, but it also has the power to generate an emotional connection. A well-thought-out tone creates a unique personality that can make a brand memorable. In terms of discourse, the clearer and more succinct it is, the better it reaches people. So, we’ll be thinking a lot and writing just enough.

— Visual Identity
The aim is to define a conceptual and graphic language that defines the brand and can be extended to all its applications.
This language must be recognizable and versatile, unique and appropriate. It has to be coherent without obstructing expressivity. It must help us generate a fluid relationship between concept and form.

— Editorial
Editorial creativity combines many of the different disciplines in design: identity, typography, art direction, visual narrative, materialization, etc. In this module, we will experiment with designing publications: we will explore – and push the limits of – each of these aspects, learning to develop content that is relevant, to structure information in way that promotes reading, and to draw the maximum benefit from print publications.

— Environmental graphics
The environment also has communication needs, which are resolved through graphic design. Depending on the brief, it may take the form of signage, displays and/or atmosphere. Beyond the specific functions of each project, environmental graphic design gives spaces an identity, personalizing and differentiating them. The course will provide students with knowledge of graphic, industrial and architectural design, based on an interdisciplinary approach.

— Packaging
Can a product be a brand’s main mode of expression? Products and packaging are powerful tools for bringing the spirit of a brand to life. Abstract concepts are materialized in objects that help to connect the brand with its audience. We will define a product, its packaging and a temporary display. The product and its packaging must coalesce, while generating interest, recall and emotion, forging a personal connection with the target audience.

— Digital
The Internet is the tool and fundamental medium for connecting with the audience and adding value to a brand. We will design the digital platforms for our project, in order to learn how to define strategy, functionality, content and form. The decision-making process will define unique patterns and narratives that give the project its identity. We will provide students with the vision and criteria to conceptualize, produce and manage all types of digital projects.

— Audio-visual
Inspiration is everywhere, which highlights the advantages of developing the sensitivity to take hold of it creatively. We will create an audio-visual piece based on a creative visualization, without limitations from a technical standpoint. In developing a short film, each step will lead to the next in a natural way. We will explore the techniques that will be necessary to achieve our goal, beginning from abstract and irrational aspects and arriving at questions of form.

3
Consulting

The development of the project demands constant assistance and support during the course. The students have the opportunity to present their doubts to different experts who will help them move forward with their projects, both conceptually and formally. These consultancies deal with the fundamental aspects common to any graphic project.

— Typography
Typography is one of the main elements for communication in any graphic design project. Beyond functional and technical aspects, typography can be very expressive and communicate a concept all on its own. The consulting sessions will aim to orient students and encourage research and creativity to find the best typographic solution for each project.

— Global perspective
Another goal of the Master’s programme is to generate a cross-cutting perspective, bringing together the seven disciplines that articulate the Master’s project. First, we focus on the conceptual and strategic aspects that provide the foundations for the project. As we move forward with the project through the seven disciplines, we work to achieve coherence among the brand’s different expressions and to consolidate the connections between them.

— Design Crit
A visiting professional and a teacher in an informal discussion about the strengths and weaknesses of the Master project. With the critique, we consider the work in relation to the previously defined goals and objectives and explore why decisions were made and how effective (or not) they are in the context of the project. A dialogue that goes beyond the formal review. Constructive and specific feedback to advance the project and help you grow as designers.

4 
Quarterly project
This practical exercise, a preliminary step prior to the Master project, introduces students to the idea of global thinking and shows them how to develop the basic elements that are the foundation for any multidisciplinary graphic project.

— Graphic systems
In any of its forms, a good graphic system helps people connect, communicate and interact with any medium in a dynamic, solid and reliable way. We will explore the vast potential of graphic systems and why we might call them “the Swiss army knife” of design. Through theoretical foundations, practical workshops and project examples, we will achieve a twofold objective: developing a comprehensive brand identity design through the creation of a graphic system.

5
Workshops

Workshops help complement and deepen knowledge of other competences and disciplines of graphic design. They take the form of meetings with specialists and recognized professionals.
They are usually scheduled from Monday to Friday.

Check out the Agenda to see who has visited us and who will be coming soon.

— Data visualization
Say it with numbers. Infographics are one more tool in a designer’s toolkit, a tool that we can use to narrate, persuade, demonstrate or insinuate. And to mislead... but that’s a different story.
This is an immersion workshop dealing with the practice of infographics and data visualization as tools for expression and communication. It presents a challenge, in which we will learn how to use data to structure our communication projects.

— Poster and context
Graphic designers observe, adopt a stance, collaborate, engage, adapt, write and debate when creating graphic proposals in poster format. Designers emit a message using the tools of graphic design. From the concept all the way to the hanging poster, and including the art direction.

— Experience
Research, experimentation and observation are essential to fostering talent. To that end, we offer students the opportunity to spend a week sharing with and learning from a professional from the international design scene who has developed a distinctive and recognizable visual language.

— That's all folks!
The final workshop of the Master’s course involves a public exhibition of the work done during the course, in a variety of formats. In this case, students are tasked with developing an actual, complete exhibition and editorial project: it is an intense process that takes place with a very tight deadline and results in the Degree Show.

— Beyond tools
All designers’ creativity is limited and conditioned by the tools they use.
All designers? No! A small group of indomitable nonconformists holds out against repeating the same tactics again and again. Instead, they model their tools according to their personal workflow.
In this workshop, we will break down the barriers of static tools to learn the fundamentals of parametric design. And we will have fun doing it.

6
Business

Graphic design is not just about concept, form, colour and typography. There are business-related aspects: making presentations to clients, building human relationships, working as a team, looking for opportunities, billing projects and ensuring a project is profitable, etc. In Business, we deal with topics from the day-to-day of graphic design that students will need to master if they want to earn a living in the field.

— Process design and facilitation
In many organisations, designers are seen as agents of change. With the right tools, we can co-create and promote processes that bring about important improvements. To that end, it is essential to understand the challenges that are facing society and the design industry.

— Business Design
Designers, because of our inherent capacity for creative thinking, can contribute value proposals in areas as apparently far away as the world of entrepreneurship. In this class, the student will learn to turn a simple idea into a sustainable business model that responds to a real need, is valuable for a specific group and that said value is greater than the cost of putting that idea into practice.

— Design management
The goal is to provide students with the necessary knowledge to coordinate, analyse and optimise the human and financial resources of a creative team or studio. This knowledge will provide designers or creative professionals with a more complete perspective. It will make them better professionals by helping them to understand all the stages in a project, beyond the strictly creative or design-oriented aspects.

— Public presentation techniques
How do we structure information using storytelling when we are presenting a project? How can we capture our listener’s interest using pitching techniques? How important is body language in our relationship with clients? This capsule will aim to answer all those questions.

7
Showcases and Case Studies

Regularly, we organise meetings with local designers, which allow us to share experiences and knowledge. They provide exposure to new points of view, reflections and references that enrich our perspectives on the exercise of the profession.

Check out the Agenda to see who has visited us and who will be coming soon.

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8
International Lectures

We invite prestigious international designers to give lectures, helping students to learn first-hand about experiences, projects and case studies in different fields of graphic design.

Check out the Agenda to see who has visited us and who will be coming soon.

Expand your perspective
The Master in Graphic Design is intended to be the beginning of something new, not an inevitable step in your career. We want this course to prepare you to find your own professional path. As such, we will encourage you to foster your independence and nurture your talent as you explore the different disciplines of graphic design.

Discover your potential
Learn to connect different ideas and perspectives to expand the possibilities in your future. We offer you the tools and the experience you need to design, develop strategies, generate content, or manage the creative process.

Build an excellent portfolio
The projects that you will complete during the course will give you the knowledge and skills necessary to create an excellent portfolio – the key to making the transition into the professional world.

Have a unique experience
The combination of projects, workshops, showcases, conferences and tutorials make this Master a great opportunity to build your knowledge and broaden your experience.

Live in a city awash with design
Barcelona is awash with design, culture, gastronomy and events of all kinds; it’s the ideal setting for learning and fun. Barcelona is inspiring, and your stay is sure to be an unforgettable experience.

Be part of a multicultural and enriching environment 
Our students come from all over the world and create a vibrant cultural atmosphere where the exchange of ideas, points of view and cultures takes place in a natural way.

Master Projects tutors
Santi Fuster, Bendita Gloria
Junior Martínez 
Roseta Mus Pons, Roseta y Oihana 
Javier Pereda, Esiete
Xavier Roca, Run Design
Pol Pérez, Affaire
Marc Torrell, Usted

Critics
Pablo Juncadella, Mucho
Marc Panero

Guest Senior Critic
Natasha Jen, Pentagram

Teachers 
Mark Bohle
Raimon Botey
Gerard Condal
Rosa Llop
Fran López
Alejandro Masferrer
Marc Panero
Alex Prieto
Salvador Rubio
Pablo Salas, Losiento

Workshop Instructors
David Galar, Gimmewings
Raúl Goñi
Gerard Mallandrich, Gimmewings
Sergi Opisso, Opisso Studio
Paadín
Xavi Roca, Run Design

Visiting professor
Anthony Burrill

graphic.elisava lectures 19.20 
Grilli Type
Noël Leu 
MuirMcNeil
Hamish Muir & Paul McNeil 
Our Polite Society 
Matthias Kreutze & Jens Schildt 
Novo Typo 
Mark van Wageningen 
Radim Pesko 
Typotheque 
Peter Bil’ak 
Office for Typography 
Chi-Long Trieu 
Dinamo 
Johannes Breyer & Fabian Harb

Showcases, Case studies and Lecturers 18.19
Daniel Ayuso, Clase
Albert Folch, Folch
Verònica Fuerte, Hey
Pablo Juncadella, Mucho
Borja Martínez, Losiento
Rafa Martínez, Folch

Masters' Talks 19.20 
Renny Ramakers
Susan Meiselas
Anna Ginsburg
Eva Franch
Gail Bichler
Luna Maurer
Ilse Crawford

Editions

Two editions of the Master’s course are held each academic year, one in Spanish and one in English.

MGD, Master in Graphic Design
is the English edition.

MDG, Master en Diseño Gráfico
is the Spanish edition.

Click here for course information in Spanish.

Number of Students

A maximum of 20 students will be selected for each edition of the programme.
Once the registration period is open, there is a rolling candidate selection process as the preregistrations become effective.

Who can apply
Preferably students with a degree in graphic design and professional practitioners with experience.

Exceptionally, depending on their portfolios and accomplishments, graduates in fine arts, communication and advertising will be accepted.

Applicants must be proactive and proficient in the use of design software.

Organizers
Thais Caballero, Coordinator
Pablo Juncadella, Co-director
Marc Panero, Director

Start date 
September 
ECTS credits 
60 
Course length 
400 hours 
Schedule* 
Monday, Tuesday and Wednesday. 
From 5 pm to 9.15 pm.
Workshops from Monday to Friday.

*For academic reasons, sessions may be scheduled exceptionally outside these hours.

Languages

One edition in Spanish (MDG)
and one edition in English (MGD).

In both editions, most workshops use English as the language of communication, with support in Spanish when necessary.

Almost all the lectures, and some showcases or case studies, are in English.

Price
Academic Year 2019-2020
English edition — 11,000 €
(plus 400 € in registration fees)

Degree

Master’s Degree in Graphic Design, degree awarded by Pompeu Fabra University (UPF) and ELISAVA Barcelona School of Design and Engineering

In the interest of continuous improvement to the programme and the professional qualifications of our teachers, we reserve the right to make changes to the content and faculty of the Master’s programme.