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.
This Master is aimed at dynamic and curious students, willing to explore less-travelled creative paths and to devise unique and innovative solutions.
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.
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.
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:
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.
Learn by doing: develop projects with support from professionals who are helping define what graphic design means today.
The Master deals with the practice of graphic design from multiple perspectives and through different media and formats.
We believe in the versatility of graphic designers and seek to promote it. Students will need to adapt to a changing profession, taking on new capacities in different professional environments.
The course is structured around different projects and teaching formats:
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.
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 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.
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.
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.
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.
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 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.
Pedro Mata + Beatriz Pina · MGD 17.18
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.
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.
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.
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.
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.
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.
The students will work shoulder to shoulder under the guidance of professional experts and world-class teachers to translate their ideas into action.
Master Projects tutors
Santi Fuster, Bendita Gloria
Roseta Mus Pons, Roseta y Oihana
Javier Pereda, Esiete
Xavier Roca, Run Design
Pol Pérez, Affaire
Marc Torrell, Usted
Pablo Juncadella, Mucho
Guest Senior Critic
Natasha Jen, Pentagram
Pablo Salas, Losiento
David Galar, Gimmewings
Gerard Mallandrich, Gimmewings
Sergi Opisso, Opisso Studio
Xavi Roca, Run Design
graphic.elisava lectures 19.20
Hamish Muir & Paul McNeil
Our Polite Society
Matthias Kreutze & Jens Schildt
Mark van Wageningen
Office for Typography
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
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.
Thais Caballero, Coordinator
Pablo Juncadella, Co-director
Marc Panero, Director
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.
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.
Academic Year 2019-2020
English edition — 11,000 €
(plus 400 € in registration fees)
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.
is a guest professor leading a workshop
in the MGD
Graphic artist, print-maker and designer Anthony Burrill is known for his persuasive, up-beat style of communication. His work is held in the permanent collections of the Victoria and Albert Museum in London, the Cooper-Hewitt National Design Museum, New York and has been exhibited in galleries around the world including the Barbican Art Gallery, the Walker Art Center and the Design Museum, London.
Words and language are an important part of Burrill’s output and he has developed a distinctive voice that is sought after not only by collectors of his prints but also by clients including Apple, Google, Hermés, the British Council, London Underground and the Design Museum. Burrill is perhaps best known for his typographic, text-based compositions, including the now-famous “Work Hard and Be Nice to People”, which has become a mantra for the design community and beyond.
Burrill was born in Littleborough, Lancashire. After studying Graphic Design at Leeds Polytechnic he completed an MA in Graphic Design at the Royal College of Art, London. He now lives and works on the Isle of Oxney, Kent.
leads the Digital project in the MGD
and the the Digital Platform project in the MED
Graphic designer (EINA, 1998). After six years of work and training alongside Fernando Gutiérrez and Pablo Martín, he founded ESIETE, integral consulting specialized in design, strategy and content. His works generates images, contents and significant experiences that create long-lasting bonds. Always striving for excellence in ideas and execution, his work has been acknowledged in national and international festivals. He is also founder and director of the magazine paseodegracia.com.
provides Typographic Consultancy on projects for the MGD
Mark is a graphic designer from Germany. He studied at the State Academy of Art and Design Stuttgart before moving to Barcelona, where he has been working for Javier Jaén and Martí Guixé. As freelance designer Mark works in a variety of economic fields seeking to create aesthetical surroundings and coherent typographic expression. His work has been awarded with several international awards.
Collaboration with Basora
Collaboration with R. Kormann
Collaboration with R. Kormann
Collaboration with N. Huynh
Collaboration with N. Huynh
provides Typographic Consultancy on projects for the MDG
Graphic designer and independent art director based in Barcelona. He works on identity, communication, web, editorial and signage projects for cultural clients and brands.
Bachelor of Fine Arts from the University of Barcelona and a Postgraduate Diploma in Advanced Typography from Eina. Mikel worked for years at Hey studio and at Bd Barcelona Design, leading him to later collaborate with studios such as Mucho, Ainhoa Nagore and Atipus.
His career has allowed him to work for entities and brands such as Coca-Cola, ESPN, Apple, Nike, Phaidon, M2Malletier, Uniqlo, CCCB, Miró Foundation ... being recognized by the Laus awards and by several international publications. He complements his professional work with teaching at IDEP and ELISAVA.
"I understand typography as the main element of communication in any graphic design project. I will guide the projects in the typographic part, focusing on the conceptual and formal, from different points of view."
Nelson Jr Martínez
leads the Audio-visual project in the MGD
Born in Glasgow but raised in Venezuela and moved to Barcelona, Jun is a Director and Illustrator with a diverse and broad palette, equally comfortable behind the camera as he is with the pen. His passion for music put him also behind the decks, which got him invited in 2002 to Sónar Festival. He also founded the No-Domain Design Studio, active for more than 10 years.
Eventually embarking on a solo career, Jun is doing TV spots, videoclips and special audiovisual projects and has been awarded with Laus, Sol and had his work featured in Stash, Motionographer and Vimeo Staff Picks.
"We will focus more heavily on the film visualisation process than on the technical aspects of production. When an idea is well visualised and the concepts are clear, one works harder and more directly towards developing it and seeing it conceived, thus discovering alternative and inspiring methods of producing it. If students are unfamiliar with certain techniques or software, it is not a hindrance because they will steadily learn and discover their own ways of realising their ideas.
We encourage experimentation and help students become more confident and creative, developing a more personal, inspiring and hands-on approach to making films."
is co-director of the MADD where he directs the Information Systems project, he also gives a workshop on Data Visualization in the MGD
He was born in Ferrol, Galicia.
He studied Fine Arts in the University of Cuenca. After moving to Barcelona, he settled there as a graphic and multimedia designer.
In 2001 he co-founded Cartún, the first online cartoon producer in Spain. Later on, he would join Lamosca, as a graphic designer, art director and partner. Since a few years ago, his work is focused mainly in infographics. He has lectured and taught in various universities, mainly in Spain and Mexico.
is co-director of the MGD and Design Critic for the master's projects
Pablo Juncadella was born in Barcelona in 1977 and graduated with honors at Eina School of Design and Art in 1999. He worked in Grafica and Pentagram (London) before founding Mucho (together with his partner Marc Catalá). Among the projects of Mucho are The Observer, Wall Paper City Guides, Movistar+ or UOC.
Pablo is a member of AGI (Alliance Graphique Internationale) and has been awarded internationally with 2 D&AD Yellow Pencil.
"Facing a design project in its entirety is never a linear process, it means having "one finger on each cake" while you are designing. This course is specifically thought to enhance the ability to design taking into account the implications that this design will have in all communication environments. Especially interesting is to observe how these implications can modulate and alter design decisions."
leads the Editorial Design project in the MGD and the Book Design project in the MED
Born in Barcelona in 1988. He studied graphic design at Elisava and, for a period of time, at ZHdK in Zürich (Switzerland). After finishing his studies, he worked at various design studios and advertising agencies of Barcelona: Folch Studio, *S,C,P,F…, Bendita Gloria, Avanti Avanti, among others.
In 2015 he partnered with Josep Román, and they currently run Affaire: a design studio for edition, art direction and design that primarily works for clients in culture and fashion. The studio’s work is complemented with Supermarché, a self-initiated editorial project where Josep and Pol publish and commercialize small editions that loosely revolve around concepts like consumerism and desire.
Roseta Mus Pons
leads the Environmnetal graphics project in the MGD
She was born in Menorca and at 18 she moved to Barcelona to study graphic design at the Eina school. For more than seven years she works at Clase Bcn, where she acquires and develops professional practice working with Claret Serrahima. Later, she became part of Base Design and Polar until in 2010 she founds Roseta y Oihana together with Oihana Herrera Erneta, whom she knows teaching at Elisava. She has given talks and workshops and has been chairwoman of the ADG Laus awards.
"On a personal level, I think teaching graphic design is especially interesting and useful when it revolves around these approaches: — Professional approach. The teacher is not just an academic, he is an active professional designer capable of teaching how to analyze and successfully develop professional assignments. — Experimental approach. It is also necessary and enriching to complement the professionalism with the freedom to experiment that the academic environment allows."
leads the Visual Identity project in the MGD
and teaches the Degree Show workshop in the MED
Graduated in graphic design, he cofounded Bendita Gloria Studio with Alba Rosell. The studio works on projects from different fields (publishing, packaging, branding and communication) with the goal of always finding the right solution that combines adequacy, intelligibility and a certain surprise effect.
"We like to talk about design as a language and, in class, we underline the semantics involved in the discipline. The way we see it, in the course of their training, students should achieve control of the meanings involved in any formal decision and accept that design is also content."
leads the Product /Packaging project in the MGD
Graduated in Graphic Design at EINA School. After working in the studio of Enric Aguilera, he became part of the team of Fernando Gutiérrez and Pablo Martín in Gráfica. In 2003, she founded Run with Eva Balart, where they carry out projects of corporate identity, packaging, communication and editorial design. He combines the professional task in Run with the teaching in ELISAVA where he has taught in the areas of projects, corporate identity and packaging.