undergraduate degree in design – academic guide 2023-2024 PDF Free Download
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undergraduate
degree in design
— academic guide 2023-2024
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Content
Coordination
Academic direction
Direction
Academic direction
Graphic design
Communication
1. Information about ESDi
1.1 Presentation
1.2 Organization
1.3 ESDi Students Representation
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2. Academic rules
2.1 Methodology
2.2 Kinds of evaluation
2.3 Class attendance
2.4 Academic tutorials
2.5 Pass a course
2.6 Validation - Credit recognition
2.7 Examination Sessions
2.8 Other special academic procedures
2.8.1 Mark complaint
2.8.2 Exam date change application
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3. Marks 7
4 ESDi educational cooperation
programmes (internships)
4.1 Regulating agreement of the subject “Internships”
4.2 Educational co-operation internship agreement for
knowledge practice
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5. Use rules of workshops, laboratories
and classrooms
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6. Enrolment 8
7. Seminars and workshops 8
8. Undergraduate Degree in Design 8
9. Curriculum
9.1 Basic training and mandatory subjects
9.2 Elective subjects
9.2.1 Elective subjects: Audiovisual design itinerary
9.2.2 Elective subjects: Graphic design itinerary
9.2.3 Elective subjects: Multidisciplinary integration itinerary
9.2.4 Elective subjects: Interior design itinerary
9.2.5 Elective subjects: Fashion design itinerary
9.2.6 Elective subjects: Product design itinerary
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10. Description of subjects of the
2023-2024 curriculum
10.1 First academic year. Common subjects
10.2 Second academic year. Common subjects
10.3 Third academic year. Common subjects
10.3.1 Fashion design subjects
10.3.2 Audiovisual design subjects
10.3.3 Graphic design subjects
10.3.4 Product design subjects
10.3.5 Interior design subjects
10.3.6 Multidisciplinary integration subjects
(design management)
10.4 Fourth academic year. Common subjects
10.3.1 Fashion design subjects
10.3.2 Audiovisual design subjects
10.3.3 Graphic design subjects
10.3.4 Product design subjects
10.3.5 Interior design subjects
10.3.6 Multidisciplinary integration subjects
(design management)
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Edition
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1. Information
about ESDi
1.1 Presentation
In the context of a plural, updated and humanistic
higher education, ESDi Higher School of Design,
centre created in 1989 and attached to Ramon
Llull University in 1992, set the objective of training
future professionals, perfectly qualified to face
changes that take place in all the fields of contem-
porary design.
In 2008 ESDi became centre attached to Ramon
Llull University and, as such, it will begin the year
2008-2009 teaching Official Undergraduate Degree
in Design, within the European Higher Education
Area (EHEA).
Its academic activity in a humanistic framework
deals with four concepts:
― Interdisciplinary teaching, open to integration
in the different areas.
― Newest technologies use, in order to provide
students with command of tools demanded by
the market every moment.
― Close link between school and enterprise,
which results in benefit of profes¬sional opportu-
nities of our students.
― Research and analysis constant task, carried
out by both professors and students by means of
special programmes.
In the 14.000 m2 of facilities distributed between
Sabadell and Barcelona, ESDi has:
― Several laboratories equipped with advanced
technology.
― Wide range of peripherals.
― Photography, audiovisual production and post-
production laboratories, and audiovisual facilities.
― Photography and video sets.
― Industrial, textile, knitwear, graphic, stamping,
and engraving workshops.
― Computer classrooms.
― Digital fabrication workshops.
― Virtual Lab.
― The Create Lab x ConceptD.
― Library.
― Textile showroom.
― Audiovisual material loan service.
The student can use all these areas as Open Clas-
sroom within the established timetable, in order
to have the best technological resources available
to carry out the practical works of the different
subjects.
1.2 Organization
ESDi Escuela Superior de Diseño [ESDi Higher School of
Design] is organised as follows:
Management Council
General Management
Academic Management
Academic Coordination
Undergraduate Degree in Design
EAA Graphic Design
EAA Audiovisual Design
EAA Interior Design
EAA Fashion Design
EAA Product Design
Research
University Department of Design Theory and Analysis
Administration and Finance
Admissions
Career Services
Communication and Marketing
IT and Infraestructures
Academic Secretary
Academic Quality and Jury Services
1.3 ESDi Students Representation
It is the representation organism of students. It
is composed by students willing to improve things
and do new things.
It is the link between students and school mana-
gement. It tries to have a good communication
with it without forgetting its main objective: to
watch over students’ rights and over training qua-
lity. At the same time, it wants to promote several
types of activities, like celebrations or contests.
The Students representation tasks are to: propose
academic improvements and extra-academic
activities; inform students; consult examination
records, notes, etc.; pass on proposals for impro-
vements and other initiatives (such as creative
projects in the school) to senior management.
It represents all students following a democratic
system:
Each group chooses its classroom delegate. Each
speciality chooses its speciality delegate. Delega-
tes choose the Association president. You can look
up who the delegates are on the Association notice
board. All charges are chosen at the beginning of
the year and they are one year long.
*Important: all 1st year classes will have to com-
municate the name of its classroom delegate to
the students’ delegation as soon as possible.
With regard to the AEE’s organisation, Association
members meet monthly (or whenever delegates
may deem appropriate) to share and discuss mat-
ters of interest.
→ Contact
You can find Association members at the first floor
office. You can also contact with them by
aee@esdi.edu.es address.
Association is a meeting point among all students.
Take part in it!
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2. Academic rules
2.1 Methodology
Teaching method followed in ESDi searches for
balance between three components:
1. Theoretical foundations which mean the lear-
ning basis.
2. Tools and languages that enable to put in
practice ideas.
3. Professional experience in enterprises.
There are three types of subjects:
― Conceptual subjects: theoretical subjects that
provide knowledge and abilities in humanities and
social sciences.
― Instrumental subjects: with the essential tools
and materials to understand the types of pro-
ducts and services to design.
― Project subjects: subjects that teach design
specific work methodology.
These groups have a morning basic timetable
assigned, except for 4th year, which is basically an
afternoon timetable. During the teaching period, it
is possible to have some classes out of their basic
timetable. Students of superior degrees have to
make, during the 4th year, an internship period
which enables them to be part of and adapt to the
real labour world.
2.2 Kinds of avaluation
As a general rule, continuous assessment is used
during the teaching period set for each subject and
in accordance with the approved syllabus for the
academic year.
The evaluation establishes how far students have
learnt the skills imparted in the degree course. Such
evaluation is based on objective, quantifiable evi-
dence, and students are fully informed of the criteria
applied.
Single evaluation
Students may, if they so wish, renounce continuous
evaluation and instead request a single evaluation
for one or more courses. Exercising this right shall
neither be more nor less favourable to the student
than continuous evaluation. By the same token,
it shall not affect the maximum grade awarded,
the evaluation criteria, or the skills required by the
course.
For a student to be entitled to single evaluation, all
five of the following criteria must be met:
1. The student must ask the faculty member tea-
ching the course to agree to such evaluation.
2. This request must be submitted within the first 5
weeks of the four-month term.
3. Accredit to the Academic Secretary that the
course teacher agrees to single evaluation. Such
accreditation must be submitted on the corres-
ponding form.
4. The student’s accreditation to the Academic
Secretary that he/she knows how to apply the
know-how covered by the course. For this pur-
pose, the student must accredit his/her previous
knowledge to demonstrate that he/she is well
placed to pass said evaluation.
5. Obtain authorisation from the Centre’s Manage-
ment to take such single evaluation.
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2.3 Class attendance
The continuous assessment framework requires
students to regularly attend class. Failure to do
so may lead to loss of evaluation rights (NAVL) in
those courses that the faculty member deems
appropriate. In the programme for each course, fa-
culty must indicate the minimum class attendance
required to pass the course. Should no percentage
be given, the default value is 80% attendance. In
any event, students are required to give reasons
for any absences. Depending on the reasons for
absences, the faculty member (after consulting
the tutor/student/centre) shall decide whether or
not to withdraw evaluation rights.
Students arriving late shall not be admitted after
ten minutes from the beginning of the class, of an
exam, or the submission of projects save where
the student produces a valid document justifying
his/her late arrival.
Students are not allowed to enter courses for
which they have not registered.
2.4 Academic tutorials
Students can ask for tutorial sessions so that they
can ask questions (preferably ones bearing on
Design Experimentation and Application areas, or
on University Departments). In addition, the Centre
shall hold tutorials for certain courses and skill
sets.
2.5 Pass a course
Failed subjects of previous years must be registe-
red. Student should give priority to these subjects.
2.6 Validation - credit recognition
Subjects studied in other university studies or in
Advanced Vocational Training Programmes (CFGS)
can be validated or recognised.
To recognise or validate subjects by academic
record, the following documentation must be
provided:
― Official academic certification of studies,
including the qualification and marks obtained.
― Certified copy of the programmes of the
subjects to validate.
― Equally, a maximum of 36 credits for labour
practise can be recognised, depending on the
knowledge, skills and abilities acquired by the
student in labour practise.
To recognise the labour practise, the following
documentation must be provided:
― A document recognising that the person
has a minimum work experience of 2 years.
Self-employed registrations, work life and
recommendation letters can be admitted.
― Documentation proving that the work done as
a designer is linked to design. Documentation
must demonstrate that the student has the
required skills in the particular subject to
recognise.
2.7 Examination sessions
All subjects have two official examination sessions.
During the first, second, and third years, exams
for the first four-months will be held in February
and July. All second exam sessions for Fourth-Year
students will be held in May.
Second semester subjects and annual subjects
have the first examination session in June and the
second one in July.
The Degree Final Project (DFP) has an official
examination session in June-July and an
extraordinary one in September.
In the case of annual courses in which different
faculty members teach each 4-month term, the
exams for the first term will be held in February
and July, for the second term, in June and July.
If the grades for the part exams are under 4,
students will be required to take the re-sit exams
in July of the same academic year.
Enrolment of any subject allow student to take
two examination sessions during the academic
year. The maximum of examination sessions that a
student can take is four, during all the degree.
Non-taking (NPRE) of any examination session
for justified reasons must be communicated in
writing to the corresponding professor and tutor,
at the latest 24 hours after the exam day of the
official examination session, in this case does not
compute for the purpose of adding up the four
examination sessions mentioned before.
In case of non-taking without justified reason,
a non-evaluated (NAVL) will be stated on official
record of the subject with the consequent loss of
examination session.
Students non-passing the forth examination
session of any subject have the right to ask for
a revision of the evaluated material in front of a
Special Tribunal. This tribunal will be designated by
the Direction and will be composed by two school
professors and the subject professor. In case that
the tribunal considers that the provided material
does not allow the establishment of an evaluation
opinion, the tribunal can ask the student to provide
exercises or complementary tests.
2.8 Other special academic
procedures
2.8.1 Mark complaint
When a student does not agree with the mark
obtained in a subject, he or she can ask for an
exercise revision to a special tribunal.
He or she must meet the following requirements:
― To attended the mark comment established by
the centre.
― To have exhausted the two official examination
sessions to which he or she has right during each
academic year.
― To fill in the Special Tribunal application form,
at students’ service at Academic Secretary’s
office. One week after the mark comment day,
applications will not be accepted.
2.8.2 Exam date change application
Exam date change can only be asked whether
the student is ill and hospitalization has been
necessary; first degree relative decease; subpoena
or being an elite athlete. In all these cases
corresponding written proofs must be submitted.
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Marks on official records must be numerical and
alphanumerical. It must be applied the following scale:
NAVL: Non-evaluated
NPRE: Non-presented
From 0.00 to 4.99: Fail
From 5.00 to 6.99: Pass
From 7.00 to 8.99: B grade
From 9.00 to 10.00: Excellent
From 9.00 to 10.00: Distinction
The grade awards shall be decided by the faculty
members. There is no minimum proportion of
Distinction and the maximum shall not exceed 5% of
the students registered for a course in the corres-
ponding teaching period, save where the number of
students registered is under 20 (in which case only
one Distinction shall be awarded).
There are subjects taught by two or three pro-
fessors. In these cases the subject only has one
mark, obtained by weighted average of the parts.
To calculate the average the student must have a
minimum of 4 in each part of the subject, otherwise
the subject is failed. In case that the student fails
a part, the student must register the whole subject
the following year.
In case of subjects with partial evaluations used
to remove topics, the final mark is the average,
provided that both are equal or more than 4. If the
partial evaluation mark/s is less than 4 the student
must retake it in the following extraordinary exami-
nation session of the same academic year. If the
partial evaluation mark is equal or more than 4 it will
be kept, if necessary, until July examination session
of the same academic year. In case of failing the
two parts, the final mark on record will be the hig-
hest mark less than 4. If finally the obtained mark is
not a pass mark, student will have all the topics fai-
led for the following year. Evaluation criteria of each
subject are responsibility of each professor in his or
her exercise of the academic freedom right.
3. Marks
Internships in enterprises completes and
reinforces the student training with work
experiences in the corporate world. Educational
cooperation agreements are the framework that
regulates the relationship between company,
student and university.
Internship agreements can be given either by
an offer from any company with which ESDi has
contacted or by a direct contact from the student
with the company. In both cases the agreement
must be formalized by means of the internship
company application.
Each company must carry out a monitoring of
the student and, at the end, to do an evaluation
that will help ESDi tutor to give the corresponding
mark to the student. In case that this document is
not submitted, “Internships” subject will have the
“Non-presented” mark.
You will find all the corresponding documents and
rules at ESDi’s virtual campus.
There are two types of agreements:
4.1 Regulating agreement of the
subject “Internships”
Compulsory subject (14 credits) for all students,
therefore, it has academic evaluation. Its duration
is a minimum of 240 hours. To do the internship,
120 credits corresponding to all 1st and 2nd year
subjects must be passed.
4.2 Educational co-operation
internship agreement for knowledge
practice
No credit load. Its duration cannot exceed 4
months or 20 hours per week.
Professors, students and administration and services
staff are responsible for the facilities respect and for
the building maintenance in perfect condition.
All students wanting to use school facilities for some
extraordinary activity must ask permission. For the
exhibitions, you must contact the teacher in charge
(Marianna de Nadal mdenadal@esdi.edu.es) and for
the rest of the activities, you can ask for help from
Student Services or Academic Direction.
There are different noticeboards specifically for pos-
ters; the rest of walls must be kept clean. For certain
uses and services of workshops and laboratories,
student card will be compulsorily required.
Workshop list with the academic areas they belong
to is detailed below:
EAA Product Design and EAA Interior Design
This includes the following workshops:
― Industrial Design Workshops
― Digital Fabrication Workshops
EAA Fashion Design
This includes the following workshops:
― Knitted fabrics workshop
― Woven fabrics workshop
― Printing workshop
― Fashion workshop
― Textile projects classroom
EAA Graphic Design and EAA Audiovisual Design
This includes the following workshops:
― Set-video-control
― Audio classroom
― Photography set
― Virtual Lab
― Graphic workshop
― Engraving workshop
4. ESDi educational
cooperation
programmes
(internships)
5. Use rules
of workshops,
laboratories
and classrooms
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6. Enrolment
The enrolment ordinary period takes place during
July and the extraordinary period, at the beginning
of September.
Students not respecting these periods will have a
10% economic penalty in the total of the enrolment.
Breach of payment deadlines entails enrolment
cancellation and loss of exam right.
7. Seminars and
workshops
In order to provide student with a complementary
training, the school has a series of activities to
complement training programme subjects. They are
conferences, workshops and seminars:
a) Podcasts. They are about 1 hour and about
different topics perpendicular to design together
with ESDi professors, students and former
students.
b) Workshops and seminars. They are about 10 or 15
hours and they are practical and experimental.
Students can carry out as many activities as they
want provided that there are available vacancies.
Design studies have the objective of training
professionals able to shape our environment
through coordination and integration of all the
influencing aspects. The effort to define an
object that will be produced afterwards forces
the designer to reflect, invent and plan. This work
process allows him or her to formalise coherently
the future object’s structure in such way that
it corresponds with useful and symbolic needs
that organise it. Design process also has social,
cultural, productive and ecological effects and
consequences.
Official Undergraduate Degree in Design prepare
the student for face design process in general
and, from 3rd year, allows him or her to study in
depth one of the following professional education
programme:
Graphic design
Product design
Interior design
Fashion design
Audiovisual design
Multidisciplinary integration (Design Management)
8. Undergraduate
Degree in Design
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The Undergraduate Degree in Design syllabus has 240
credits, which ESDi recommends to distribute among
4 courses of 60 credits each. Each ECTS (European
Credit Transfer System) credit is equivalent to 25
hours of student’s effort, both classroom work and
independent work.
The credits and subjects distribution suggested below
proposes 60 credits per academic year, but there is
the option to study more or less credits. The minimum
are 35 and the maximum, 75.
240 credits are distributed in the following way:
9. Curriculum
1st year 2nd year 3rd year 4th year
Basic training and
mandatory subjects
Basic training and
mandatory subjects Mandatory subjects Elective subjects
Elective subjects Final Degree Project
Internships
Undergraduate Degree in Design
Type 1st year 2nd year 3rd year 4th year Total
Basic Training (BT) 36 24 60
Mandatory Subjects (MS) 24 36 34 96
Elective Subjects (ES) 26 30 56
Internships 14 14
Final Degree Project 16 16
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9.1 Basic training and mandatory subjects
1st Year
Subject Type ECTS
Art theory and history I BT 6
Form theory and workshop BT 6
Sociology BT 6
Design theory and history I MS 6
Representational drawing BT 6
Project basis MS 4
Technical drawing I BT 6
Photography I MS 6
Computing I BT 6
Introduction to projects MS 8
TOTAL 60
2nd Year
Subject Type ECTS
Art theory and history II BT 6
Communication BT 6
Business I: organization
and processes BT 6
Computing II BT 6
Design theory and history II MS 6
Literature and communication MS 3
Projects I MS 8
Comprehensive projects MS 8
Ethics of the Profession MS 5
Materials and technology I MS 6
TOTAL 60
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3rd Year
Subject Type ECTS
Projects II MS 8
Comprehensive projects II* MS 8
Design Issues MS 6
Business II: organization and
processes MS 6
Materials and technology II MS 6
Elective subjects ES 26
TOTAL 60
4th Year
Subject Type ECTS
Internships MS 14
Final Degree Project MS 16
Elective Subjects ES 30
TOTAL 60
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9.2 Elective Subjects
Within the elective subjects is where speciality skills are learned. Training programme includes the following
elective subjects. However, they are not all studied.
The number of cumulative credits needed for a degree itinerary is 56 ECTS. At least 50 ECTS must belong to
the module of the itinerary in question and — in this case — be complemented by at least 6 ECTS from elective
courses chosen from other majors.
9.2.1 Elective courses:
Audiovisual design itinerary
Students only need take 56 credits. The offerings may
vary from one year to the next depending on what the
School considers most appropriate and/or what the
students’ preferences are.
Subject Credits Year
Digital Image Treatment /
Tractament Digital de la Imatge /
Tratamiento Digital de la Imagen 3 3
Digital Sound Treatment I /
Tractament Digital del So I /
Tratamiento Digital del Sonido I 3 3
Graphic Design for TV /
Disseny Gràfic per TV /
Diseño Gráfico para TV 3 3
Critical Theory and New Media /
Teoria Crítica i Nous Mitjans /
Teoría Crítica y Nuevos Medios 4 3
Audiovisual Creation /
Creació Audiovisual /
Creación Audiovisual 6 3
Narrative, Scripts and Audiovisual Models Analysis /
Narrativa, Guions i Anàlisi de Referents Audiovisuals /
Narrativa, Guiones y Análisis de Referentes Audiovisuales 6 3
Graphic Design for TV /
Disseny Gràfic per TV /
Diseño Gráfico para TV 3 3
Projects III /
Projectes III /
Proyectos III 6 4
3D Alternative Techniques /
Tècniques alternatives en 3D /
Técnicas alternativas en 3D 4 4
Interactive Systems Design and Programming /
Disseny i Programació de Sistemes Interactius /
Diseño y Programación de Sistemas Interactivos 8 4
Aesthetics of Digital Media /
Estètica dels Mitjans Digitals /
Estética de los Medios Digitales 6 4
Graphics for Advertising /
Gràfica per a Publicitat /
Gráfica para Publicidad 4 4
Departmental Intensification /
Intensificació Departamental /
Intensificación Departamental 4 3/4
Free-choice Credits /
Crèdits de Lliure Elecció /
Créditos de Libre Elección 2 4
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9.2.2 Elective courses: Graphic design itinerary
Students only need take 56 credits. The offerings may
vary from one year to the next depending on what the
School considers most appropriate and/or what the
students’ preferences are.
Subject Credits Year
Video / Vídeo / Vídeo 4 3
Typography I / Tipografia I / Tipografía I 4 3
Digital Image Treatment /
Tractament Digital de la Imatge /
Tratamiento Digital de la Imagen 3 3
Calligraphy / Cal·ligrafia / Caligrafía 3 3
Computing III / Informàtica III / Informática III 4 3
Illustration / Il·lustració / Ilustración 4 3
Scale models and Originals /
Maquetes i Originals /
Maquetas y Originales 4 3
Book and Project Presentation /
Book i Presentació de Projectes /
Book y Presentación de Proyectos 4 3
Projects III / Projectes III / Proyectos III 6 4
Projects IV / Projectes IV / Proyectos IV 6 4
Graphic Arts (Ecodesign) /
Arts Gràfiques (Ecodisseny) /
Artes Grádicas (Ecodiseño) 3 4
Industrial Packaging / Packaging Industrial 3 4
Typography II / Tipografia II / Tipografía II 4 4
Graphics for Advertising /
Gràfica per a Publicitat /
Gráfica para Publicidad 4 4
Photography II / Fotografia II / Fotografía II 4 4
3D Alternative Techniques /
Tècniques alternatives en 3D /
Técnicas alternativas en 3D 4 4
Departmental Intensification /
Intensificació Departamental /
Intensificación Departamental 4 3/4
Free-choice Credits /
Crèdits de Lliure Elecció /
Créditos de Libre Elección 2 4
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9.2.3 Elective courses:
Multidisciplinary integration itinerary
(Design Management)
Students only need take 56 credits. The offerings may
vary from one year to the next depending on what the
School considers most appropriate and/or what the
students’ preferences are.
Subject Credits Year
Protocol and Event Planning and Development /
Planificació i Desenvolupament d’Esdeveniments i Protocol
Planificación y Desarrollo de Eventos y Protocolo 4 3
Visual Communication Techniques /
Tècniques de Comunicació Visual /
Técnicas de Comunicación Visual 4 3
Ergonomics / Ergonomia / Ergonomía 4 3
Specific Projects I /
Projectes Específics I /
Proyectos Específicos I 5 3
Book and Project Presentation /
Book i Presentació de Projectes /
Book y Presentación de Proyectos 4 3
Specific Projects II /
Projectes Específics II /
Proyectos Específicos II 5 4
Channels and Techniques /
Canals i Tècniques /
Canales y Técnicas 6 4
Business III: Design Management /
Empresa III: Gestió del Disseny /
Empresa III: Gestión del Diseño 6 4
Information and Signage /
Informació i senyalització /
Información y señalización 6 4
Law and legislation /
Dret i legislació /
Derecho y legislación 3 4
Departmental Intensification /
Intensificació Departamental /
Intensificación Departamental 4 3/4
Free-choice Credits /
Crèdits de Lliure Elecció /
Créditos de Libre Elección 2 4
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9.2.4 Elective courses: Interior design itinerary
Students only need take 56 credits. The offerings may
vary from one year to the next depending on what the
School considers most appropriate and/or what the
students’ preferences are.
Subject Credits Year
Scale models and Prototypes /
Maquetes i Prototips /
Maquetas y Prototipos 4 3
Computing III / Informàtica III / Informática III 4 3
Installations I / Instal·lacions I / Instalaciones I 4 3
Design and Adaptability /
Disseny i Adaptabilitat /
Diseño y Adaptabilidad 3 3
Lighting and Acoustics /
Il·luminació i Acústica /
Iluminación y Acústica 3 3
Design of Outdoor Spaces /
Disseny d’Espais Exteriors /
Diseño de Espacios Exteriores 4 3
Book and Project Presentation /
Book i Presentació de Projectes /
Book y Presentación de Proyectos 4 3
Computing IV / Informàtica IV / Informática IV 4 4
Materials and finishes /
Materials i Acabats /
Materiales y Acabados 4 4
Projects III / Projectes III / Proyectos III 6 4
Installations II /
Instal·lacions II /
Instalaciones II 6 4
Refurbishment / Rehabilitació / Rehabilitación 4 4
Ephemeral Stagings /
Muntatges Efímers /
Montajes Efímeros 4 4
Departmental Intensification /
Intensificació Departamental /
Intensificación Departamental 4 3/4
Free-choice Credits /
Crèdits de Lliure Elecció /
Créditos de Libre Elección 2 4
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9.2.5 Elective courses: Fashion design itinerary
Students only need take 56 credits. The offerings may
vary from one year to the next depending on what the
School considers most appropriate and/or what the
students’ preferences are.
Subject Credits Year
Spinning / Filatura / Hilatura 3 3
Pattern Making and Dressmaking /
Patronatge i Confecció /
Patronaje y Confección 4 3
Collection Concepts /
Conceptes de Col·lecció /
Conceptos de Colección 4 3
Textile Computing I /
Informàtica Tèxtil I /
Informática Textil I 4 3
History of Fabric and Costume /
Història del Teixit i Vestit /
Historia del Tejido y Vestido 3 3
Dyeing and Finishing textiles /
Tints i Acabats /
Tintes y Acabados 4 3
Textile Design Projects /
Projectes de Disseny Tèxtil /
Proyectos de Diseño Textil 4 3
Fashion Projects I /
Projectes de Moda I /
Proyectos de Moda I 6 4
Fashion Projects II /
Projectes de Moda II /
Proyectos de Moda II 6 4
21st century fashion: Fashion Styling and Photography /
Moda S.XX Estilisme i Fotografia de Moda /
Moda S.XX Estilismo y Fotografía de Moda 3 4
Materials and Technology III /
Materials i Tecnologia III /
Materiales y Tecnología III 8 4
Technical Fabrics / Teixits Tècnics / Tejidos Técnicos 3 4
Technology (Channels and Techniques) /
Tecnologia (Canals i Tècniques) /
Tecnología (Canales y Técnicas) 4 4
Textile Computing II (Fashion communication) /
Informàtica Tèxtil II (Comunicació de moda) /
Informática Textil II (Comunicación de moda) 4 4
Departmental Intensification /
Intensificació Departamental /
Intensificación Departamental 4 3/4
Free-choice Credits /
Crèdits de Lliure Elecció /
Créditos de Libre Elección 2 4
18
9.2.6 Elective courses: Product design itinerary
Students only need take 56 credits. The offerings may
vary from one year to the next depending on what the
School considers most appropriate and/or what the
students’ preferences are.
Subject Credits Year
Scale models and Prototypes /
Maquetes i Prototips /
Maquetas y Prototipos 4 3
Ergonomics / Ergonomia / Ergonomía 4 3
Design of Small Household appliances /
Disseny de Petits Electrodomèstics /
Diseño de Pequeños Electrodomésticos 3 3
Technique of use of materials and mechanics /
Tècnica d’utilització de materials i mecànica /
Técnica de utilización de materiales y mecánica 4 3
Computing extension: Industrial /
Ampliació Informàtica: Industrial /
Ampliación Informática: Industrial 4 3
Bionics / Biònica / Biónica 3 3
Book and Project Presentation /
Book i Presentació de Projectes /
Book y Presentación de Proyectos 4 3
Industrial Packaging / Packaging industrial 3 4
Projects III / Projectes III / Proyectos III 6 4
Projects IV / Projectes IV / Proyectos IV 6 4
Technique / Tècnica / Técnica 3 4
3D Modelling and Rendering /
Modelat 3D i Rendering /
Modelado 3D y Rendering 6 4
Automotion / Automoció / Automoción 4 4
Furniture design /
Disseny de mobiliari /
Diseño de mobiliario 4 4
Departmental Intensification /
Intensificació Departamental /
Intensificación Departamental 4 3/4
Free-choice Credits /
Crèdits de Lliure Elecció /
Créditos de Libre Elección 2 4
19
20
10. Description of subjects of the 2023-2024 curriculum
10.1. First academic year.
Common subjects.
→ Representational drawing
Itinerary: Common
ECTS Credits: 6
Description
Students will learn the basic elements of straight lines,
geometry, space and the adhesion of the drawing
to the project. We will also learn about the portrait,
perspective and the human figure, such as colour,
textures and chiaroscuro. The subject introduces
students to the problem of representation though
free-hand drawing. The ability of observation and
analysis through the use of drawing will be developed
as a mean of knowledge. In a more practical way,
students will learn and experiment with different
graphic to understand their expressive possibilities.
Core curriculum
1. Knowledge, visual competence and psychomotor
capacity.
1.1. Basic variables of straight lines. Notions of the
value of the line.
2. Methods of shape apprehension: perspective,
knowledge and description.
2.1. Descriptive and cognitive drawing: rational and
intuitive systems. Techniques to fit objects and
spaces, stereometry and plane geometry.
2.2. Axonometric and conic perspective.
2.3 Portrait and the human figure.
3. Superficial modelling and awareness
3.1. Colour, textures and lightness value.
Bibliography
Albers, J. (2003). La interacción del color. Madrid:
Alianza Forma.
AA.VV. (2004). El retrato español. Del Greco a Picasso.
Madrid: Museo Nacional del Prado.
Berger, J. (2017). Modos de ver. Barcelona: Gustavo Gili.
Brehm, M. (2021). Dibujo de la perspectiva. Barcelona:
Hoaki Books.
Civardi, G. (2011). Perspectiva y estructura. Madrid: El
Drac.
Civardi, G. (2007). El desnudo. Madrid: El Drac.
Edwards, B. (2021). Aprender a dibujar con el lado
derecho del cerebro. Barcelona: Urano.
Gómez, J., Cabezas, L. y Bordes, J. (2003). El manual
de dibujo. Madrid: Cátedra.
Martínez-Artero, R. (2004). El retrato. Madrid: Ediciones
de Intervención cultural.
Mollière, B. (2021). La perspectiva en urban sketching.
Barcelona: Gustavo Gili.
Parramón, J. (1992). Cómo dibujar la cabeza humana y
el retrato. Barcelona: Parramón.
→ Photography I
Itinerary: Common
ECTS Credits: 6
Description
Focusing on photography as visual communication,
this course will help students to become familiar with
the basic methods of digital photography: master
the techniques involved in capturing, processing,
and presenting digital images and understand the
expressive possibilities that they offer. It aims to equip
students with the basic technical and conceptual
skills to produce photographic images adequate to
their intentions and objectives.
Core curriculum
1. Course introduction.
Module 1: Fundamentals of photography
2. The nature of photography and the formation of
the photographic image / Operation of analogue
and digital cameras; menus and different options.
3. Exposure concept. f-numbers; shutter times; ISO
sensitivity / Tips and applications for advanced use
of mobile device cameras
4. Focus, sharpness, depth of field, motion capture.
Outdoor practice with cameras and phones.
5. Introduction to the photographic studio.
6. Introduction to the uses and applications of
photography. Visual references.
7. Review of the first submission.
Module 2: Light characteristics and photometry
8. Characteristics of light: intensity, colour
temperature, contrast, natural and artificial light.
Exposure reading; histogram; ETTR technique.
9. Practice in a studio or on location with cameras
and phones.
10. Introduction to developing in Adobe Camera
Raw; digital image format and resolution.
11. Review of the second submission.
Module 3: The visual language of photography
12. Photographic reading and composition I -
Introduction to the “grammar” of the visual
language.
13. Photographic reading and composition II –
Further practical training.
14. Photographic reading and composition III –
Further practical training.
15. Review of the third submission.
Module 4: Encounters with the history of photography
16. A brief journey through the history of
photography I.
17. A brief journey through the history of
photography II.
18. A brief journey through the history of
photography III.
19. A brief journey through the history of
photography IV.
20. Review of the fourth submission.
Module 5: Visual narrative, staging and lighting
21. Sequences and visual narrative / The
photographic staging.
22. Object lighting: practical tips.
23. People lighting: practical tips.
24. Review of the fifth submission.
Module 6: The photographic project and photography
as an artistic expression
25. Introduction to the photographic project.
26. Presentation and analysis of works by
renowned authors / Young photography.
27. Advanced developing techniques in Adobe
Camera Raw and introduction to the use of
alternative software for digital image processing.
28. Mentoring / Project progress evaluation.
29. Mentoring.
30. Final project presentation.
Bibliography
MELLADO, J.M. (2014) Fotografía de alta calidad.
Barcelona: Anaya multimedia.
NEWHALL, B. (1983) Historia de la Fotografía.
Barcelona: Gustavo Gili.
21
→ Form Theory and Workshop
Itinerary: Common
ECTS Credits: 6
Description
Students will learn basic elements of geometry, form,
space, and colour and how to adequate them for
the project. We will also deal with the treatment of
volume, as well as colour, textures and chiaroscuro,
both in flat and three-dimensional images.
The subject introduces students to the problem of
representation through different colour and three-
dimensional representation techniques. Observation
and analysis skills are developed through the use
of drawing, volume, textures, and colour as means
of knowledge. Practically, students will learn and
experiment with different graphic techniques and
materials to get to know their expressive possibilities.
They will also learn about ways of apprehending the
figure and reading visual forms (forms as signs, as
persuasion, as communication).
Core curriculum
1. Introduction of the visual elements of form: point,
line, space, object, texture, and colour.
2. The typologies of form.
3. Image perception. Theory and degrees of iconicity.
4. Families of forms. Their exemplification in different
creative fields.
5. Final Project.
Bibliography
Albers, J. (2003). La interacción del color. Madrid:
Alianza Forma.
Antón, C. (2021). Escenografías colectivas de lo
cotidiano. Universitat de Barcelona.
Berger, J. (2017). Modos de ver. Barcelona: Gustavo Gili.
Dondis, D. (2012). La sintaxis de la imagen. Barcelona:
Gustavo Gili.
Foster, H. (2006). La encrucijada del arte
contemporáneo. En Arte desde 1900. Madrid: Akal.
Fried, M. (2004). Arte y objetualidad: ensayos y
reseñas. Madrid: A. Machado Libros.
González-Miranda, E. y Quindós, T. (2015). Diseño de
Iconos y pictogramas. Valencia: campgràfic.
Mitchell, W. (2009). Teoría de la imagen. Ensayos sobre
representación verbal y visual. Madrid: Akal.
Prette M. y De Giorgis, A. (2002). Atlas ilustrado para
comprender el arte y entender su lenguaje. Madrid:
Susaeta.
→ Art Theory and History I
Itinerary: Common
ECTS Credits: 6
Description
The subject proposes a historiographical approach
to the main theoretical discourses, aesthetic ideas,
and artistic manifestations of the History of Western
Art, placing special emphasis on painting, sculpture,
architecture and applied arts. This aim to introduce
students to the understanding, study, and reading of
the artistic manifestation, contemplating its process
of ideation, its ‘materialization’ and its socio-cultural
value and reception. The chronological axis of the
subject begins in the 19th century and extends up to
the First World War. Nevertheless, a historiographical
recognition will be made of the socio-cultural events
and artistic manifestations that allowed the birth
of what we call modern art. The assignments that
accompany the theoretical development of the
subject are designed to put into practice analytical,
synthetic, and critical thinking; familiarization with
theoretical texts and written expression and the
implementation of the concepts dealt with in the
History of Art in the students’ professional lives.
Core curriculum
1. Preliminary issues:
- Definition of the concept of art, function, agents,
historical changes.
- Binomial art-history or the History of Art. Terms.
- Writing history. Sources for study and example of
basic writing.
- Artistic languages.
2. 18th century recognition:
- Aura of the ancient world, neoclassicism, and the
sharing of archaeology.
- The Romantic movement.
- The transition to the historical avant-garde.
3. Introduction to the historical avant-garde:
- General approach to its terms and movements.
- Geographical, political, and cultural context.
4. The historical avant-garde:
- Impressionism.
- Post-impressionism.
- Fauvism.
- Expressionism.
- Cubism.
- Futurism.
- Abstraction.
- Constructivism and Suprematism.
- Dadaism.
- Neoplasticism.
- Surrealism.
- Interaction with other artistic and cultural
manifestations.
Bibliography
ADES, Dawn. El DADA y el surrealismo. Barcelona:
Labor, 1975.
ANTAL, Frederick. Clasicismo y romanticismo. Madrid:
Alberto Corazón, 1978.
AZÚA, Félix de. Baudelaire y el artista de la vida
moderna. Barcelona: Anagrama, 1999.
BAUDELAIRE, Charles. Salones y otros escritos sobre
arte. Madrid: Visor, 1996.
BENJAMIN, Walter. La obra de arte en la época de su
reproductibilidad técnica. México: Itaca, 2003.
BÜRGER, Peter. Teoría de la vanguardia, Barcelona:
Península, 1987.
CIRLOT, Lourdes (Ed.). Primeras vanguardias artísticas.
Textos y documentos. Barcelona: Labor, 1995.
DE MICHELI, Mario. Las Vanguardias Artísticas del Siglo
XX. Madrid: Alianza, 2002.
FRANZINI, Elio. La estética del siglo XVIII. Madrid:
Visor, 2000.
GOMBRICH, Ernst. La Historia del Arte. Madrid: Debate, 1997.
GONZÁLEZ GARCÍA, Ángel et al. Escritos de arte de
vanguardia. Madrid: Akal, 1999.
HUYSSEN, Andreas. Después de la gran división.
Modernismo, cultura de masas, posmodernismo.
Buenos Aires: Adriana Hidalgo, 1986.
MARCHÁN FIZ, Simón. La estética en la cultura
moderna. Madrid: Alianza Forma, 1987.
NOVOTNY, Fritz. Pintura y escultura en Europa 1780-
1880. Madrid: Cátedra, 1994.
SAFRANSKI, Rüdiger. Romanticismo. Una odisea del
espíritu alemán. Barcelona: Tusquets, 2018.
22
→ Sociology
Itinerary: Common
ECTS Credits: 6
Description
The subject proposes a reflection on the social
behaviours that have modified contemporary society
and have transformed personal, cultural, and spatial-
temporal relations. We will start from a conceptual
knowledge, which places us in the field of classical
anthropology and sociology, to reach the analysis
of contemporaneity: localization, globalization,
multiculturalism, interculturalism, otherness… for its
application in the field of design.
Core curriculum
Topic 1: Of Sociology as a Design Tool
1.1. Analysis and Creativity: an essential relationship.
1.2. Interdisciplinarity in the design process.
1.3. Socio-semiotics and its contribution to Design.
1.4. Colour and its relation to social behaviour.
Topic 2: Introduction to Sociology
2.1. Sociology as a science.
2.2. Basic concepts of Sociology.
2.3. Homo sociológicus.
2.4. Man within society.
Topic 3: Individual and Society.
3.1. Social representations: searching for the
nexus between anthropology, society, and social
psychology.
3.2. Individual and society. Identity and otherness:
On the recognition of the individual and his/her
relationship with the other.
3.3. Geo-identity.
3.4. The body as social space.
Topic 4: Social context. The decline of modern
narratives
4.1. The breakdown of the great ideologies.
4.2. Overcoming the postmodern spirit.
4.3. Glocalization.
4.4. Liquid times: the flexible generation and its
social conception.
Topic 5: Issues for debate in the 21st century: the
polarization of a society in flux
5.1. Slow rationalism: the pandemic and the new
social order.
5.2. Data religion.
5.3. The non-gender. Overcoming the Queer
Theories.
5.4. Neo-machismo.
5.5. The return of radical ideologies: from extreme
right to anarchy. Crisis of capitalism.
5.6. Terror as a form of international coercion.
5.7. The circular alternative.
Bibliography
Aguadero, F (1993): Comunicación social integrada.
Barcelona, Consejo Superior de Comunicación y
Relaciones Públicas de España.
Aronowitz, S. (1998): Tecnociencia y cibercultura,
Barcelona, Paidós.
Aumont, J. (1989): El papel de la imagen en la imagen,
Barcelona, Paidós.
Balzac, H. (1989): Hija de Eva. En obras completas.
Barcelona, Ed. Planeta.
Baudrillard, J (1992): Cultura y Simulacro, Barcelona,
Paidós.
Bauman, Z. (2003): Modernidad Líquida, Madrid, Fondo
de Cultura Económica.
Bauman, Z. (2009): Tiempos líquidos: Vivir en una
época de incertidumbre, Barcelona, Ed. Tusquets
Bauman, Z. (2017): Extraños llamando a la puerta,
Barcelona, Ed. Paidós Estado y Sociedad.
Bauzá de Mirabó, M. (2003): La moda como espacio
privilegiado para el diálogo entre culturas. En el V
Congreso de Moda. Universidad de Navarra.
Berger, P; Luckmann, T. (1997): Modernidad y crisis de
sentido, Barcelona Paidós.
Berger, P. (1989): Invitació a la sociología, una
perspectiva humanística, Barcelona, Herder.
Borderia, E; Luna, A; Martínez, F (1998): Historia de la
comunicación social. Voces, registros y conciencias.
Madrid, Editorial Síntesis.
Bourdieu, P. (1986): ¿Y quién creó a los creadores? En:
Sociología y cultura, México, Grijalbo.
Butler, J. (2006): Deshacer el género, Barcelona,
Paidós Studio167
Calabresse, O (1995): Los juegos de la imagen,
Colombia, Instituto Italiano de Cultura.
Castells, M (1999): La era de la información. Economía,
sociedad y cultura, Madrid, Alianza editorial.
Corraze, J; Núñez, G. (1986): Las comunicaciones no
verbales, Barcelona, Kairós.
Costa, J. (1994): Diseño, comunicación y cultura,
Madrid, Fundesco.
Creus, M. (ed.) (2002): El disseny avui. De l’objecte al
seu context, Sabadell, Fundación Caixa de Sabadell.
Culleres, I; Planas, J; Redondo, C. (2003): Tendencias
étnicas e identidades contemporáneas. En el V
Congreso de Moda. Universidad de Navarra.
Curran, J; Morley, D; Walkerdine, V (1998): Estudios
culturales y comunicación. Barcelona, Paidós.
Dorfles, G. (2002): Moda y modos, Valencia, Engloba
Edición.
Entwistle, J. (2002): El cuerpo y la moda, Barcelona,
Paidós.
Estefanía, J. (2002): Hij@, ¿qué es la globalización?
Madrid, Aguilar.
Franquet, R; Larrègola, G (Ed) (1999): Comunicar a l’era
digital, Barcelona, Societat catalana de comunicació
Flychy, P (1991): Una historia de la comunicación
moderna. Espacio público y vida privada, México,
Gustavo Gili.
Floch, J.M. (1997): Semiótica, marketing y
comunicación, Barcelona, Paidós.
García Selgas, F; Moleón, J. (1999): Los retos de la
posmodernidad, Madrid, Editorial Trotta.
George, S. (2004): Otro Mundo es Posible si... , Madrid,
Icaria/Intermón Oxfam.
Gifreu, J (1991): Estructura general de la comunicació
pública. Barcelona, Pórtic.
Harari, N.Y. (2018): “21 lecciones para el siglo XXI”,
Barcelona, Ed. Debate
Harari, N.Y. (2017): “Homo Deus”, Barcelona, Ed.
Debate.
Harari, N.Y. (2013): “Sapiens. De animales a dioses”,
Barcelona, Ed. Debate.
Klein, N. (2001): No Logo. El poder de las marcas.
Madrid, Ed. Paidós.
Knapp, M. (1992): La comunicación de masas,
Barcelona, Paidós.
Knapp, M. (1992): La comunicación no verbal,
Barcelona, Paidós.
Lipovetsky, G. (1990): El imperio de lo efímero. La
moda y su destino en las sociedades modernas.
Barcelona, Ed. Anagrama.
Lozano, J. (1988): Moda y Diseño: un desafío cultural,
Técnos, Madrid.
Lurie, A. (1994): El lenguaje de la moda, Barcelona,
Paidós Contexto.
Marín, E; Tresserras, J.M (1994): Cultura de masses i
postmodernitat, Barcelona, Edicions 3 i 4.
Martínez Barreiro, A. (1998): La moda en las
sociedades modernas, Madrid, Tecnos.
Martiniello, M. (1998): Salir de los guetos culturales,
Barcelona, Ed. Bellaterra.
Ordine, N. (2018): La utilidad de lo inútil, Madrid, Ed.
Acantilado.
Picó, J. (1999): Cultura y modernidad. Seducciones y
desengaños de la cultura moderna. Madrid, Alianza
Editorial
Rodrigo, M. (1999): Comunicación intercultural,
Barcelona, Anthropos.
Rodrigo, M. (2000): Identitats i comunicació
intercultural, Barcelona, Edicions 3 i 4.
Solé, C. (1998): Modernidad y modernización.
Barcelona, Anthropos.
Stanley, A; Martisons, B; Menser, M. (1998):
Tecnociencia y cibercultura. La interrelación entre la
cultura, tecnología y ciencia, Barcelona, Paidós.
Timoteo Álvarez, J (1987): Historia y modelos de la
comunicación en el siglo XX, Barcelona, Ariel.
Wainwright, G (1987): El lenguaje del cuerpo, Madrid,
Pirámide.
Williams, R (1992): Historia de la comunicación I.II.
Barcelona, Bosch.
Winkin, Y (Ed.) (1994): La nueva comunicación,
Barcelona, Kairós.
23
→ Design Theory and History I
Itinerary: Common
ECTS Credits: 6
Description
The first objective of the subject is to learn when
the design was born as an autonomous discipline
and how it consolidated as a profession throughout
the 19th and early 20th centuries. Another goal is to
convert knowledge of design history into valid theory
for professional practice. All of this is to make people
reflect on the profession called “design”.
Core curriculum
Block I: THE ORIGINS OF MODERNITY IN DESIGN
Lesson 1.- Gutenberg Galaxy.
1.1. The discovery of the printing press and its social
and cultural impact.
1.1.1. Interpretation by Renato de Fusco.
1.1.2. Interpretation by McLuhan.
1.1.3. Interpretation by the UB research group.
Block II: INDUSTRIAL REVOLUTION AND SOCIAL IMPACT
Lesson 2.- Industry and mass society.
2.1. The mechanization of the world
2.2. Scientific advances
2.3. Technological advances
Block III: THE REFORM OF THE DECORATIVE ARTS AND
THE PILLARS OF DESIGN
Lesson 3.- New Techniques. Iron architecture.
3.1. Gothic Revival and Structural Rationalism.
Viollet-le-Duc.
3.2. Engineering architecture. New typologies.
3.3. Joseph Paxton and The Crystal Palace. A new
construction paradigm.
Lesson 4.- Theories for the reform of the decorative
arts.
4.1. The Utopian Socialists:
4.1.1. Robert Owen.
4.2. The Functionalists:
4.2.1. Henry Cole.
4.2.2. Owen Jones.
4.2.3. Richard Redgrave.
Lesson 5.- Arts & Crafts.
5.1. John Ruskin. A new aesthetic idealism.
5.2. William Morris. Modernity and design.
Block IV: MODERNISM: AN INTERNATIONAL STYLE
Lesson 6.- Birth of a style of its own.
Lesson 7.- Belgium (Art Nouveau).
7.1. Víctor Horta and the use of iron in domestic
architecture.
7.2. Henry van de Velde and the force line.
Lesson 8.- France (Art Nouveau).
8.1. Paris and Hector Guimard.
8.2. Nancy School and Emile Gallé.
Lesson 9.- Germany (Jugendstil).
9.1. Darmstadt and the Mathildenhöhe artists’
colony.
9.2. Munich.
Lesson 10.- Austria and fin-de-siècle culture in Vienna
(Secession).
10.1. Adolf Loos:
10.1.1. Debate on the ornament.
10.1.2. Debate on materials.
Lesson 11.- Werkbund and AEG.
11.1. Individuation.
11.2. Typification.
Block V: EARLY 20TH CENTURY AVANT-GARDE
Lesson 12.- Italy: Futurism.
12.1. Manifestos
12.2. Utopian architecture.
Lesson 13.- The Netherlands: De Stijl.
13.1. Project principles as a design methodology.
Lesson 14.- Russia: Constructivism.
14.1. The factory transforms the artist into a
designer.
Lesson 15.- Germany: Bauhaus.
15.1 From expressionism to the Modern Design
Movement.
15.1.1 Teachers.
15.1.2 Houses.
15.1.3 Influences.
15.1.4 Pedagogies.
Bibliography
Campi, Isabel. La idea y la materia. Vol.:I. Editorial
Gustavo Gili. Barcelona 2008.
Giedion, Siegfried. La mecanización toma el mando.
Editorial GG. Barcelona, 1978.
Pevsner, Nikolaus: Pioneros del Diseño Moderno, de W.
Morris a W. Gropius. Ed. Infinito. Buenos Aires, 1963.
De Fusco, Renato. Historia del diseño. Editorial Santa &
Cole. Barcelona 2005.
Droste, Magdalena. Bauhaus 1919-1933. Editorial
Taschen. Berlín, 2006.
Sembach, Klaus-Jürgen. Modernismo. Editorial
Taschen. Köln, 2002.
Calvo Serraller, Francisco; González García, Ángel;
Marchán Fiz, Simón. Escritos de arte de vanguardia
1900/1945. Editorial Istmo. Madrid, 2003.
Hereu, P.; Montaner, J. Mª y Oliveras, J. Textos de
arquitectura de la modernidad. Ed. Nerea. Madrid,
1994.
→ Project Basis
Itinerary: Common
ECTS Credits: 4
Description
The subject plans a double and complementary
approximation to basic principal operatives that
orientate and articulate the project activity: on the
one hand, is covers its instrumental character to
generate its own “modus operandi” of the activity,
and on the other hand, stimulate the environment
reflection around the use and opportunity that
protects a given framework of action.
Core curriculum
The principal basis of projects:
- Project methodology.
-Techniques and tools for projects.
- Analysis of precedence and references.
Bibliography
Muñoz Cosme, A. (2008). El Proyecto de arquitectura.
Concepto, proceso y representación. Ed. Reverte.
Barcelona.
Bohigas, O. (1972). Proceso y erótica del diseño.
Barcelona: La Gaya Ciencia.
Bonsiepe, Gui (1975). Teoría y práctica del diseño
industrial. Elementos para una manualística crítica. Ed.
Gustavo Gili. Barcelona.
Bürdek, B. (1994). Diseño. Historia, teoría y práctica del
diseño industrial. Gustavo Gili. Barcelona.
Catmull, Edwin (2014) Creatividad, S.A.: Cómo llevar la
inspiración hasta el infinito y más allá. Ed. Conecta.
Barcelona.
Christopher Jones, John (1970) Métodos de Diseño.
Col. GGDiseño, Ed. Gustavo Gili. Barcelona.
Löbach, B. (1976). Diseño industrial. Bases para la
configuración de los productos industriales. Ed.
Gustavo Gili. Barcelona.
Maldonado, T. (1977) El diseño industrial reconsiderado;
col. Punto y Línea, Ed. Gustavo Gili. Barcelona.
Munari, Bruno (1981). ¿Cómo nacen los objetos? Col.
GGDiseño, Ed. Gustavo Gili. Barcelona.
Mootee, Idris (2014) Design thinking para la innovación
estratégica: Lo que no te pueden enseñar en las
escuelas de negocios ni en las de diseño. Empresa
activa. Ediciones Urano. Barcelona.
PAPANEK, V. (1977) Diseñar para el mundo real:
Ecología humana y cambio social. Blume. Madrid.
PERICOT, J. (2003) El diseño y sus futuras
responsabilidades. Temes de Disseny. Barcelona.
24
→ Technical drawing I
Itinerary: Common
ECTS Credits: 6
Description
Theoretical/practical subject in which students learn
and put into practice the basics of technical drawing
for general design.
Core curriculum
1. Plane geometry: Basic geometry, aspect ratio,
angles, tangencies...
2. Multiview projection: Basic concepts, cuts, sections,
dimensions and scales.
3. Axonometric view: Isometric, diametric, military,
cavalier. Shadows.
4. Linear perspective: elemental aspects of spatial
vision in perspective.
5. Rules of representation: dimensions, scales,
proportions…
Bibliography
SANABRE Carolina, VALERO Sergio, Ejercicios de Dibujo
Técnico: para: Ingenierías, Bachillerato, Formación
profesional. Editorial Limencop s.l.
ÁLVAREZ Álvarez, Jesús. CONDE Miranda, Félix. Dibujo
técnico I. 1 Bachillerato. Grupo SM Educación
→ Introduction to projects
Itinerary: Common, according to itinerary
ECTS Credits: 6
Description
The course offers an introduction to design
methodology based on the different design
specialties. The first term focuses more on the
necessary tools and resources for the process and
materialisation of the projects, in order to be able to
carry out the first projects during the second term
and thus be introduced to the project methodology.
Core curriculum
1. Analysis of problems, applying the creative process
to the solution, representation, organisation, and
drawing up of a design project.
2. Project formulation.
3. Project methodology and tools.
4. Project planning, costs, and management
components.
Specific audiovisual design curriculum
1. Pre-production: Basic introduction to the audiovisual
language. Conceptual research and analysis of
references.
2. Production: basic technical introduction to
audiovisual materials and equipment.
3. Post-production: Adobe Premiere and After Effects
software.
Specific graphic design curriculum
1. Documentation, research, and analysis as
fundamental parts of the creative process.
2. The design process and its culmination: the formal
proposal.
3. Use of manual and digital tools.
4. Proper handling of the screen support and the
necessary techniques for working on paper.
Specific product and interior design curriculum
1. Documentation, research, and analysis as
fundamental parts of the creative process.
In the block on spaces, we will work first with
experimentation with materials and then with the
design of spaces. In the first case, new materials will
be developed without prior study of the elements
to be worked with, but by experimenting with them
and analysing the results. In the second case, the
reform of spaces is proposed by relating the space to
the individual. The first case is a space in the home
chosen freely by analysing problems; in the second
case, adapting a space to certain customs or habits;
in the third case, adapting it to a specific individual, his
or her personality and needs.
In the product block, the student is introduced to
a specific sector, since the relationship with the
company and its demands mark the project. The user
to whom the project is addressed is also analysed.
2. The design process and its culmination: the formal
proposal. Briefing, market, and reference study.
Definition of objectives, motivations, and problem
statement. Design and construction. Technical
development. Formalisation.
3. Use of manual and digital tools. Creation of
prototypes.
Specific fashion design curriculum
1. Documentation, investigation and analyses as
fundamental parts of the creative process. The mood
board and the sketchbook. Colour cards.
2. Introduction of fabric manipulation techniques.
3. Comprehension, projection and presentation:
creating a piece of clothing.
3.1. Use of specific materials.
3.2. Understanding of what is a collection.
Bibliography
Ling, D. (2015). Complete design thinking guide for
successful professionals.
Lewrick, M. (2017). The Design Thinking Toolbox: A
Guide to Mastering the Most Popular and Valuable
Innovation Methods. Wiley.
Lewrick, M., Link, P., & Leifer, L. (2018). The design
thinking playbook: Mindful digital transformation of
teams, products, services, businesses and
ecosystems. John Wiley & Sons.
Nunnally, B., & Farkas, D. (2016). UX research: practical
techniques for designing better products. O’Reilly
Media, Inc.
Weinschenk, S. (2011). 100 things every designer
needs to know about people. Pearson Education.
Gardner, H. (1993) Mentes creativas. Paidós.
Barcelona.
Romo, M. (1998). Psicología de la creatividad. Paidós
psicología, Barcelona.
De Bono, E. (1997). Seis sombreros para pensar.
Granica. Barcelona.
Guilford, J.P. (1991) Creatividad y educación. Paidós.
Barcelona.
Fashion bibliography
Abling Bina: Fashion Sketchbook. Editorial Fairchild
Books, USA, 2007.
Wolff, C.: The Art of Manipulating Fabric. Krause
Publications. Iola, Wisconsin, 1996.
Hywel Davies: Fashion designer´s sketchbooks. 2010.
Laurence King Publishing, U.K. ISBN: 9781856696838.
Munsell, A. A Grammar of Color: A Basic Treatise on the
Color System of Albert H. Munsell. Faber Birren (Ed.).
Van Nostrand Reinhold. New York, 1969.
Root-Bernstein, R. & M. (2002): El secreto de la
creatividad. Barcelona: Kairos.
Lafuente Maite, Navarro Juanjo. Dibujo plano-
Ilustración de moda. Maomao publications, Barcelona,
2005.
Albers, J.: La Interacción del Color. Yale University,
1975.
Wells, K.: Teñido y Estampación de Tejidos. Alcanto
S.A. Barcelona, 1998.
25
→ Computing I
Itinerary: Common, according to itinerary
ECTS Credits: 6
Description
In this subject, advanced knowledge of software
for the creation of models and projects in a digital
environment will be taught.
Core curriculum (1st term)
1. Photoshop: Professional development in design and
retouch images.
2. Illustrator: Professional development with pen
vector shapes.
3. InDesign: Implementation of publishing layouts.
4. Recognition of the interfaces of Adobe Photoshop,
Adobe Illustrator and Adobe InDesign software.
5. Advanced vector design.
Specific audiovisual design curriculum
1. 3Ds Max: Professional 3D Modelling Development.
2. Unity: Migration of 3D models for virtual reality
display.
3. Recognition of the interfaces of 3Ds Max and Unity
software.
4. Advanced inorganic modelling.
5. Knowledge about searching reference websites.
6. Creation of an open scenario.
7. Resources for designer-client communication to
know how to communicate with a professional studio.
Specific graphic and product design + design
management curriculum
1. Medium technical skills of software: Adobe
Photoshop y Adobe Illustrator.
2. Photoshop: Implementation of professional projects
in colour correcting, photo montaging, retouching
images and illuminating in pixel art.
3. Illustrator: Initiation on isometric perspective
illustration, layout of documents with illustrations
and text, page composition technique, to further 3D
illustration techniques.
4. Master final documents preparation from both
programmes.
Specific interior design curriculum
1. Autocad: knowledge of a drawing computing tool in
two dimensions to a suitable graphic representation of
the projects.
2. Software introduction, commands/basic drawing,
osnap, layers, measurements, text, lines, delimitation,
(optional basic plotting).
Specific fashion design curriculum
1. Medium technical skills of software: Adobe
Photoshop y Adobe Illustrator.
2. Photoshop: Implementation of professional projects
in colour correcting, photo montaging, retouching
images and illuminating in pixel art.
3. Illustrator: Initiation on isometric perspective
illustration, layout of documents with illustrations
and text, page composition technique, to further 3D
illustration techniques.
4. Master final documents preparation from both
programmes.
Bibliography
Adobe Support Community.
https://community.adobe.com
Artstation. https://www.artstation.com/
Behance. https://www.behance.net/
Freepik. https://www.freepik.es/
Weinmann, E., 2011. Adobe Guía Rápida de Photoshop
CS5. Editorial Anaya Multimedia. Madrid.
Adobe, 2010. Adobe Illustrator CS5. Editorial Anaya
Multimedia. Madrid.
Adobe, 2010. Adobe InDesign CS5. Editorial Anaya
Multimedia. Madrid.
26
10.2. Second academic year.
Common subjects
→ Communication
Itinerary: Common
ECTS Credits: 6
Description
This subject analyses the main models of
communication that have been developed throughout
the 20th century, their evolution in the 21st century,
and their relationship with the socio-cultural
context. The course focuses on non-verbal and
verbal communication as the central axes of human
interactions and the study of all textual forms of
expression: visual, object, written... To do this, we start
with structural semiotics as a discipline that allows us
to approach these communication models. We also
study socio-semiotics as an analytical tool that can
help design students understand the different levels of
meaning in the world of objects. Design as a discipline
has the capacity to generate formal discourses
around the construction of identity signs, which allow
the definition of the social and cultural reality of a
specific community.
Core curriculum
1. Non-verbal communication.
1.1. Prosemic.
1.2. Kinesics. Gestures.
1.3. Environment and the communication of
emotions.
2. Introduction to semiotics.
2.1. Human communication.
2.2. Symbols and the interpretation of possible
worlds.
2.3. Symbology in advertising posters.
2.4. Ferdinand de Saussure.
2.5. Pierce.
3. Denoted message and connoted message. Roland
Barthes.
3.1. Denoted message.
3.2. Connoted message.
3.3. Mythologies.
3.4. Rhetoric of the image.
3.5. The semiotic value of objects.
4. Design and semiotics.
4.1. Semiotics and morphology.
4.2. The Object Universe.
4.3. The designed objects.
4.4. The heuristic artifice.
Bibliography
Busquets, L. (1977). Para leer la imagen: mass-media y
educación. Barcelona: Instituto Calasanz de Ciencias
de la Educación ICCE.
Floch, J.M. (1993). Semiótica, Markenting y
Comunicación. Barcelona: Paidós.
Hall, E. (1972). La dimensión oculta. México: Ed. Siglo
veintiuno.
Squicciarino, N. (1990). El vestido Habla. Madrid: Ed.
Cátedra.
Norman, Donald (1990). La psicología de los objetos
cotidianos. Madrid: Nerea.
→ Design Theory and History II
Itinerary: Common
ECTS Credits: 6
Description
The origins of modernity will be analysed through
the history of design. The different theories of design
history in Europe and the USA after the Second World
War will be analysed and studied, linking the design
process to the historical, economic, cultural, artistic,
and social contexts.
Core curriculum
1. Design from World War II to the present day.
2. Design theories in Europe and the USA.
3. Design and project processes.
4. Cultural, social, and ideological aspects in different
conceptions of design.
*In order to comply with the basic syllabus, we will
randomly introduce the following topics:
- The Bauhaus. A reminder of the beginning of
Modern Design.
- The GATCPAC, Modernity in Catalonia.
- Le Corbusier and the machine of inhabiting.
A-historical classicism.
- Interwar furniture and graphics: the universality
of the modern movement.
- USA. From war design to consumer design.
- European influence. Paul Rand, Saul Bass, Lubalin.
The big agencies. Burnett & Ojilvy.
- European reconstruction after the Second World
War. Germany: the ULM school and BRAUN. The Güte
Form.
- Italy, north and south. The Olivetti and Belio
Design. The graphics of the Boggeri studio.
- Switzerland and rationalist continuity: design as a
system. Swiss design.
- England: Pentagram. Multidisciplinary design.
- Organicism: an overview of Scandinavian design.
- The language of postmodern architecture.
- Archigram and the second machine metaphor.
Alexander and systems. The Five and geometry.
- Modernity is under siege. Venturi: from logic to
logics.
- Table: the claim of the scenographic and the
occurrence: the iconography of commercial
architecture.
- Italy again. The denial of Belio Design. Archizoom.
The banal design. Alchymia. Memphis.
- Deconstruction: from architecture to graphics.
Bibliography
CHIPP, Herschel B. (Ed.). Teorías del arte
contemporáneo. Fuentes artísticas y opiniones
críticas. Madrid, Akal, 1995.
DAIX, Pierre. Historia cultural del arte moderno.
Madrid: Cátedra, 2002.
DEBORD, Guy. La sociedad del espectáculo. Valencia:
Pre-Textos, 2005.
FOSTER, Hal. El retorno de lo real. La vanguardia a
finales de siglo. Madrid: Akal, Madrid, 2001.
GOMBRICH, Ernst. La Historia del arte. Madrid: Debate,
1997.
GUASCH, Anna Maria. El Arte Último del siglo XX. Del
posminimalismo a lo multicultural. Madrid: Alianza,
2000.
GUASCH, Anna Maria. Los manifiestos del arte
posmoderno. Textos de exposiciones, 1980-1995.
Madrid: Akal, 2000.
GUASCH, Anna Maria. El arte en la era de lo global.
1989-2015. Madrid: Alianza Forma, 2016.
HUYSSEN, Andreas. Después de la gran división.
Modernismo, cultura de masas, posmodernismo.
Buenos Aires: Adriana Hidalgo, 1986.
LYOTARD, Jean-François. La condición postmoderna,
Madrid: Cátedra, 1998.
MARZO, Jorge Luis; MAYAYO, Patricia. Arte en España,
1939-2015. Ideas, prácticas y políticas. Madrid:
Cátedra, 2015.
27
→ Art Theory and History II
Itinerary: Common
ECTS Credits: 6
Description
The subject proposes a historiographical approach
to the main theoretical discourses, aesthetic ideas,
and artistic manifestations of the History of Western
Art, with special emphasis on painting, sculpture,
architecture, and the applied arts. The aim is to
introduce students to the understanding, study, and
reading of artistic manifestations, contemplating their
process of ideation, their materialization, and their
socio-cultural value and reception. The chronological
axis of the subject begins in the interwar period and
extends to the present day. Special emphasis will be
placed on the process of democratization of artistic
languages, themes, and audiences, as well as the new
theoretical lines resulting from globalization. The work
that accompanies the theoretical development of
the subject is designed to put into practice analytical,
synthetic, and critical thinking, familiarisation with
theoretical texts and written expression and the
putting into practice of the concepts dealt with in Art
History in the students’ professional lives.
Core curriculum
1. Preliminary questions:
1.1. Definition of the concept of art, function,
agents, and historic changes.
1.2. Binomial art-history or the Art History. Terms.
1.3. Writing history. Sources for study and examples
of basic writing.
1.4. Artistic languages.
2. Introduction to the historical avant-garde:
2.1. General approach to its terms and movements.
2.2. Geographical, political, and cultural context.
3. The historical context around the Second World
War.
3.1. Artistic movements: the heritage of the
Beginning of the 20th Century.
3.2. New Trends I: North American Abstract
Expressionism.
3.3. The Guilbaut thesis: USA vs Europe.
3.4. New trends II: Informalism.
3.5. The case of Antoni Tàpies.
3.6. New currents III: Art brut.
4. Introduction to the second half of the 20th Century.
4.1. Political and Cultural Context.
4.2. The impact of the mass media. 4.3.
4.3. Pop art.
4.4. Minimal art.
4.5. Conceptual art.
4.6. Arte povera.
4.7. Land art.
4.8. Action art.
4.9. Happening.
5. Modernity vs. postmodernity.
5.1. Fundamental texts.
5.2. Conceptual and aesthetic principles.
5.3. Paradigmatic artists and cases.
6. Art in the age of globalization.
6.1. Political and cultural context.
6.2. Fundamental texts.
6.3. Conceptual and aesthetic principles.
6.4. Artists and paradigmatic cases.
6.5. Digital arts or net.art.
6.6. New discourses I: a gender perspective.
6.7. New discourses II: decolonial perspective.
6.8. New discourses III: an environmental
perspective.
→ Literature and communication
Itinerary: Common
ECTS Credits: 3
Description
This subject is conceived, in principle, as a “workshop
on writing and discussion of academic texts”,
understanding text from a broad perspective.
Throughout the four-month period, we will mainly
develop written and spoken comprehension and
expression oriented toward design. We will work on
the formats of short presentations, opinion columns,
academic articles, and essays. As it is designed as a
workshop, the classes will not be purely theoretical
and expository. In this case, participation is
fundamental and continuous assessment will be the
way to encourage and ensure participation.
Core curriculum
Throughout this term we will mainly develop written
and spoken comprehension and expression oriented
towards design. We will work on the formats of short
presentations, opinion columns, academic articles,
and essays. As it is designed as a workshop, the
classes will not be purely theoretical and expository.
In this case, participation is fundamental, and
continuous assessment will be the way to encourage
and ensure participation.
Bibliography
https://normas-apa.org/etiqueta/normas-apa-2022/
Bibliography
CHIPP, Herschel B. (Ed.). Teorías del arte
contemporáneo. Fuentes artísticas y opiniones
críticas. Madrid, Akal, 1995.
DAIX, Pierre. Historia cultural del arte moderno.
Madrid: Cátedra, 2002.
DEBORD, Guy. La sociedad del espectáculo. Valencia:
Pre-Textos, 2005.
FOSTER, Hal. El retorno de lo real. La vanguardia a
finales de siglo. Madrid: Akal, Madrid, 2001.
GOMBRICH, Ernst. La Historia del arte. Madrid: Debate,
1997.
GUASCH, Anna Maria. El Arte Último del siglo XX. Del
posminimalismo a lo multicultural. Madrid: Alianza,
2000.
GUASCH, Anna Maria. Los manifiestos del arte
posmoderno. Textos de exposiciones, 1980-1995.
Madrid: Akal, 2000.
GUASCH, Anna Maria. El arte en la era de lo global.
1989-2015. Madrid: Alianza Forma, 2016.
HUYSSEN, Andreas. Después de la gran división.
Modernismo, cultura de masas, posmodernismo.
Buenos Aires: Adriana Hidalgo, 1986.
LYOTARD, Jean-François. La condición postmoderna,
Madrid: Cátedra, 1998.
MARZO, Jorge Luis; MAYAYO, Patricia. Arte en España,
1939-2015. Ideas, prácticas y políticas. Madrid:
Cátedra, 2015.
28
→ Computing II
Itinerary: Common, according to itinerary
ECTS Credits: 6
Specific interior design description
The course is aimed at learning the design and
representation of interior design projects. The first
module will focus on 2D drawing with the AUTOCAD
program, where students will be given the necessary
tools so that they can integrate the criteria to work
independently on drawing projects. In the second
term, students will have to explore and delve into
creative representation.
Specific product design description
The course proposes the use of the Solidworks
programme in a generic way, a solid and parametric
modelling programme based on operations, to enable
students to reproduce their projects in the virtual 3D
environment, as a standardised graphic expression
in 2D and as a photorealistic presentation through
rendering.
Specific fashion design description
The first term of the course is set out as a creative
training/fashion illustration. The creative training is
a 13-week journey where we explore texture, color,
composition, proportion, and expression in creative
drawing. In the second term, the course is conceived
as a further development of computer science
from the perspective of a tool at the service of the
designer. General concepts of applied computing
and basic knowledge of software focused on vector
drawing, editing, and digital image processing will be
taught.
Specific graphic design description
This instrumental subject is divided into two modules:
introduction to web design, on the one hand, and
usability design, interaction, and interface design with
Figma, on the other. The first module aims to study the
main programming languages used in web design and
the design of online applications, learning about their
technical foundations and assessing their projection
in the design field. The module on usability, interaction
design, and UI design with Figma aims to delve into
the theoretical contents to tackle the design of digital
products satisfactorily.
Specific audiovisual design description
The aim of this subject is to study the main
programming languages applied to web design and
the design of interactive applications, learning about
their technical foundations and assessing their scope
and projection in the field of design. The subject also
proposes to investigate the new perspectives of digital
interactive creation, bringing together the disciplines
of design and science through the communion of
resources.
Specific interior design curriculum
1. AUTOCAD:
- Interface, navigation tools, model units.
- Draw elements (line, polyline, circle, rectangle,
polygon, arc, spline, elipse…).
- Modify (move, copy, rotate, scale, mirror, array,
fillet, trim, extend…).
- Hatch, wipeout, draw order…
- Layer, plot style, line style.
- Block, dynamic block.
- UCS, isolate, freeze…
- Xref, pdf, image…
- Text and annotation styles.
- Layout and publish.
2. SKETCHUP:
- Interface, navigation tools, model units.
- Model (extrude, boolean tools….).
- Clipping plane (cross section…).
- Perspective and camera settings.
- Export model (make 2d) and export view (pdf,
jpeg).
3. PHOTOSHOP:
- Interface.
- Insert, edit, transform textures.
- Brush tools, shadow and dirt.
Specific product design curriculum
1. Interface and philosophy of the programme.
2. Associative modules: part, assembly and drawing.
3. Complements: sheet metal, surfaces, moulds,
rendering.
4. Evaluative capacity of the programme.
5. Industrial standardisation.
Specific fashion design curriculum
Module I:
1. Stains / Indian ink / textures and techniques.
2. Color and volume / proportion (with references
such as James Castle / outsider art).
3. Collage technique.
Module II:
1. Workspace.
1.1. Tools, palettes and preferences.
1.2. Document creation.
2. Use and management of Typography.
2.1. Text and image: composition and organization.
3. Color and image.
3.1. Importing, managing and linking images.
3.2. Graphic formats.
3.3. Color management and application.
4. Computer representation techniques.
4.1. Assisted illustration.
4.2. Representation of textile textures.
4.3. Technical computer drawings.
Specific graphic design curriculum
1. Introduction to web design.
-Design of websites and applications through code.
-Introduction to HTML5 programming (responsive
design).
- Introduction to style sheets.
- Introduction to javascript in HTML environments.
- SEO / Search Engine Optimization.
2. Introduction to interface design (UI) and interaction
design (ID).
- Types of interfaces.
- Dimensions of interaction design.
- Design principles.
- Designing the experience.
- Designing with Figma.
Specific audiovisual design curriculum
1. Introduction to web design.
-Design of websites and applications through code.
-Introduction to HTML5 programming (responsive
design).
- Introduction to style sheets.
- Introduction to javascript in HTML environments.
- SEO / Search Engine Optimization.
2. Programming applied to audiovisual design.
- Introduction to object-oriented programming.
- Variables and data types.
- Operators.
- Conditional structures.
- Functions.
- Classes and objects (methods and properties).
- Data arrays (methods and properties).
- Events, listeners, and handlers.
- Date and Time control.
- Graphical functions.
- Libraries and frameworks oriented to audiovisual
production.
- Media preparation for audiovisual control
interfaces (VJ).
Interior design bibliography
Ching, Francis D. K., Manual del dibujo arquitectónico,
Ed. GG.
Atelier BOW-WOW, Graphic anatomy 2, TOTO ed.
BIG, HOT to COLD, Taschen ed.
Product design bibliography
Bertoline, G.R., Wiebe, E.N., Miller, C.L. y Mohler, J.L.
(1999). Dibujo en Ingeniería y Comunicación
Gráfica. McGraw-Hill. ISBN 9701019474.
Dassault Systemes SolidWorks Corporation (2015).
Introducción a Solidworks.
https://my.solidworks.com/solidworks/guide/
SOLIDWORKS_Introduction_ES.pdf
Ramos Barbero, Basilio y García Maté, Esteban (3º ed,
2020). Dibujo Técnico. Madrid: AENOR Ediciones. ISBN
9788417891237.
Fashion design bibliography
JOSEF MÜLLER-BROCKMANN. Sistemas de retículas. Ed
GG, 1982.
ENRIC JARDÍ. 22 Consejos sobre tipografía. Ed ACTAR,
Barcelona, 2008.
WILLIAM OWEN. Diseño de Revistas. Ed GG. Barcelona
1991.
VVAA . Manual de Adobe Photoshop (2010). Ed. Anaya.
VVAA . Manual de Adobe Indesign (2010). Ed. Anaya.
VVAA . Manual de Adobe Illustrator (2010). Ed. Anaya.
Tallon, K. Digital Fashion Illustration. Ed. Batsford Ltd.
(2008).
https://www.pinterest.es/misspinkelton65/fashion/
Audiovisual and graphic design bibliography
Bellamy-Royds, A. (2015). SVG Text Layout. Boston:
O’Reilly.
Crockford, D. (2008). JavaScript: The Good Parts.
Cambridge: O’Reilly.
Hales, W. (2013). HTML5 and Javascript Web Apps.
Cambridge: O’Reilly.
Pfeiffer, S., & Green, T. (2015). Beginning HTML5 Media:
Make the most of the new video and audio standards
for the web (Second Edition). New York: Apress.
Ramtal, D., & Dobre, A. (2014). Physics for JavaScript
Games, Animation, and Simulations: with HTML5
Canvas. New York: Apress.
Robbins, J. N. (2013). HTML5 Pocket Reference, Fifth
Edition. Cambridge: O’Reilly.
Simpson, K. (2014a). Scope and Closures. Cambridge:
O’Reilly.
Simpson, K. (2014b). This & Object Prototypes.
Cambridge: O’Reilly.
Simpson, K. (2015a). Types & Grammar. Cambridge:
O’Reilly.
Simpson, K. (2015b). Up & Going. Cambridge: O’Reilly.
29
→ Comprehensive Projects I
Itinerary: Common, according to itinerary
ECTS Credits: 8
Description
This course wants to encourage the student to
learn to project from the perspective of sustainable
and global design, as well as strengthen group
work ethics, emphasizing the conceptualization
and experimentation of proposals from different
disciplines. The contents related to the design
(projectual) process quill be treated depending on
the projects proposed. The subject also wants to
help the student “expand” design practises beyond
their profession: understand the design career
as an explorer, investigator in changing contexts.
It also wants to help the student understand the
communicative role of design and position themselves
as a narrator, communicating an idea or speech as
well as their role as a designer of experiences.
Lastly, the teacher will help the student to create a
proposal that must be related to the investigation and
presented according to the latter mentioned, using
strategies that help explain and sell the project. The
suggested topics for the projects are merely so that
the student can start an investigation and won’t limit
the student’s creativity in any way. This course is also
based on theoretical topics such as sustainability,
climate change and circular economy to encourage
more environmentally friendly projects.
Specific fashion design description
This subject aims to stimulate the student’s ability
to design based on a critical and constructive vision
of their own work and address issues related to the
methodology applied to fashion projects. Thus, based
on creation, visual perception, and the functions of
art, concepts are articulated, analyzed, and worked
on in order to develop our own work systems that
allow for a creative base that can be applied to
specific projects. We will also work with color palettes
and the search for textures, as well as going more
deeply into Moodboard as a working tool already
started in the first year. The course also aims to give
a general knowledge of fabrics, firstly, to be able to
distinguish them technically according to the materials
used, texture and finishing technologies, flat and
knitted fabrics, jacquards, prints, embroideries...
Secondly, the course will look in depth at the
technique of knitted fabrics to give an overview of
the techniques (gathering stitch and warp stitch) and
the most basic constructions, as well as the most
common applications of the different knitted fabrics
in clothing.
Core curriculum
Module I:
1.1. Planning as an integral design.
1.2. Project design as a cooperative and collaborative
process.
1.3. Fundamentals of analysis for the realization of
project proposals.
- Analysis of context, analysis of references, design
thinking.
1.4. Design from different disciplines.
- Conceptualisation of ideas, elaboration of
coherent discourse.
- Approach to strategies, objectives, synthesis of
concepts, appropriation of strong points, keywords,
and communication.
- Proposal development, materialization, support
material, visualization of concepts, and tangible
resources to formalize the proposal.
- Presentation or staging.
Module II: Sustainability - Product Life Cycle
2.1. Definition and principles of sustainability.
Sustainable Development Goals.
2.2. Climate Change and Ecological Footprint.
2.3. Impact of production processes.
2.4. Carbon Footprint (energy, water, emissions,
toxicity...).
2.5. Impact of product distribution and sales systems
(logistics, transport, packaging...).
2.6. End of Product Life.
2.7. Ecodesign.
Module III: Sustainability - Social Responsibility
3.1. Social Responsibility in Companies and
Organizations.
3.2. Codes of Ethics and Conduct.
3.3. Transparency and traceability.
Specific fashion design curriculum
Module 1:
This subject proposes the creation of its own work
methodology, developing concepts to provide depth
to the proposed projects.
- Working with visual tools: Moodboards, mind
maps, sketchbooks.
-- Working with all these tools on an initial
concept proposal.
-How do I measure this concept?
-What value I give it?
-Where I position myself?
-Awareness of the concept.
Through practical exercises, the concept is
approached in different ways.
Module 2:
0. Introduction: Review of textile materials. Properties
and identification.
1. Texture Techniques: Knowing and Distinguishing the
Flat and the Punt.
2. Knitting: warp and weft knitting. Main structures of
knitted fabrics. Properties and common applications
in clothing.
3. Knowing and distinguishing printing, embroidery,
and jacquard techniques.
Bibliography
BRAUNGART, M., MCDONOUGH, W. (2005). Cradle to
Cradle (De la cuna a la cuna): Rediseñando la forma
en que hacemos las cosas. McGraw-Hill. Madrid
CATMULL, E. (2014). Creatividad, S.A.: Cómo llevar la
inspiración hasta el infinito y más allá. Ed. Conecta.
Barcelona
MUNARI, B. (1984). Diseño y comunicación visual.
Contribución a una metodología didáctica, Gustavo
Gili, Barcelona.
MOOTEE, I. (2014). Design thinking para la innovación
estratégica: Lo que no te pueden enseñar en las
escuelas de negocios ni en las de diseño. Empresa
activa. Ediciones Urano. Barcelona.
RICARD, A. (2000). La aventura creativa, Ariel,
Barcelona.
SPARKE, P. (2011). Diseño y cultura. Una introducción,
desde 1900 hasta la actualidad, Ed. Gustavo Gili,
Barcelona.
Fashion design bibliography
Philippe Noisette. Couturiers de la danse. Editions de
la Martinière.
Deborah Wye, Jerry Gorovoy, Felix Harlan, Benjamin
Shiff. Louise Bourgeois: An Unfolding Portrait: Prints,
Books, and the Creative Process. MoMa.
Charlie Porter. What Artists Wear. Penguin Books.
Christa Steinle, Simon Baker, Markus Gabriel, Peter
Weibel. Erwin Wurm: One Minute Sculptures 1997-2017.
Ed. Hatje Cantz Verlag.
Erwin Wurm. The artist who swallowed the world.
Hatje Cantz.
Leire Fernández, Eduardo Herrera. Diseño de cubiertas
de libros: Recursos de retórica visual. Editorial
Sintesis.
Arnau Puig. L’Esponja Dalí. March Editor.
Tiqqun. Teoría del Bloom. Ed. Melusina.
30
→ Projects I
Itinerary: Common, according to itinerary
ECTS Credits: 8
Specific interior design description
The subject is configured as an axis around which
the knowledge of the specialty is synthesized. It is a
meeting point for the different contents that make up
the subject and which, essentially comprise tools that
have a dual character: conceptual and technical.
Specific product design description
Practical subject for learning how to develop a
complete product design project. The methodology
during the development of a product is a crucial factor
that will determine the final quality of the design. The
course aims to strengthen the student in the correct
approach to all the phases of the project in order to
prevent and contemplate all the aspects that confer
the development of a product.
Specific fashion design description
The subject is conceived as a place for learning and
experimenting with methodological processes for the
poetic and significant use of the creative languages
applied to the field of clothing design. Understanding
different methodologies and work strategies will
allow students to generate specific projects and, in
turn, acquire the essential tools necessary for the
configuration and development of a personal design
language.
Specific graphic design and design management
description
This subject allows students to learn and
master essential tools used in managing design
projects. Students will work on projects from their
conceptualization until the final evaluation once
the event that has been suggested working on has
finished.
Specific audiovisual design description
The subject sets the basis to develop design projects
and audiovisual production. It centres around
explaining and practising the needed phases for
creating: the documentation process, reference
analysis, applying the methodology, investigation
around an idea, and the necessary steps to achieve
a result. The design project is a changing being and
depends on the process, influenced by the critical
positioning and the view of the author, and exposed to
influences of the context where it is set.
Specific interior design curriculum
1. Project methods and specific instruments.
2. Visibility of a project.
3. Criteria of usability, sustainability, and respect for
difference based on the knowledge of the specialties.
4. Conceptual and technical elements of design.
Specific product design syllabus
1. Analysis phase (Environment / Market / Use / User /
Technical framework / References).
2. Conceptualisation phase (Premises / Conclusions /
Objectives / Briefing / Preliminary project).
3. Basic Project (Technical references / Exploitation /
Processes / Use / Assembly).
4. Executive project (Memory / Plans / Renderings /
Prototyping).
5. Development of product design projects following
the thematic phases.
Specific fashion design curriculum
1. Creation of conceptualizations based on topics of
personal interest related to relevant issues of social,
environmental, and current interest.
2. Development of compositions to explain an idea:
collage.
3. Creation of color palettes and proportions.
4. Surface treatment: Initiation to printing techniques
and experimentation.
5. First approaches to the creation of a fabric chart.
6. Development and presentation of the textile
catalog.
7. Development of sketchbook and recording of the
process itself.
8. Writing of descriptive memory.
9. Fashion illustration and forms of representation.
10. Collection analysis.
11. Development of technical drawings:
measurements, dimensions, specifications, materials.
12. Construction of technical specifications.
13. Understanding the anchor points of a garment.
14. Possibility of generating a route and a reading by
means of constructive resources in a garment.
Specific graphic design and design management
curriculum
1. Elevator pitch.
2. Buyer persona vs target audience.
3. Project charter.
4. Gantt chart-WBS.
5. Project life cycle.
6. Org Chart and a Stakeholder Map.
7. Scrum methodology.
8. Budget.
9. Prototyped.
10. Means.
11. Results and findings.
Specific audiovisual design curriculum
1. The audiovisual project: methodologies.
- The Current context of audiovisual design.
- The design project: roles and specifications.
- Audiovisual production: terms and key concepts.
- Production methodology.
- Brainstorming, mood boards and collaborative
tools.
- Production documents.
2. Storytelling visual.
- Edition, composition and storytelling.
- The importance of colour.
- Art direction.
- The direction of photography.
3. Digital postproduction and motion design.
- The digital paradigm of audiovisual production.
- Motion design: animation and storytelling.
- Lighting techniques.
- Introduction to Pipeline de VFX.
4. Expanded formats.
- Audiovisual and transmedia.
- Worldbuilding.
- Alternative Reality Games.
Interior design bibliography
Scott Brown, D., Venturi, R. (1971). Aprendiendo de
todas las cosas. Barcelona: Tusquets editor.
Pallaasma, J. (2006). Los ojos de la piel. Gustavo Gili
(“Colección arquitectura Contextos”).
Francis D.K. Ching (1998). Forma, Espacio y Orden.
México: Editorial Gustavo Gili.
Product design bibliography
Donald A. Norman; The Design Of Every Day Thinks.
Perseus Book, 2013, USA.
Mauro Moro; Design Process. Partridge Publishing,
2019, Singapore.
Paul Rodgers and Alex Milton, Product Design.
Laurence King Publishing, 2011, London.
Lesko, Jim; Industrial Design. Willey, 1999, Canada.
Munari, Bruno. ¿Cómo nacen los objetos? Apuntes
para una metodología proyectual. GGDiseño.
Barcelona, 1981.
Fashion design bibliography
Kawamura, Yuniya (2005). Fashion-ology: An
Introduction to Fashion Studies (Dress, Body, Culture).
Editorial Berg.
Saltzman, Andrea. (2004). El cuerpo diseñado: sobre
la forma en el proyecto de la vestimenta. Editorial
Paidós.
Haraway, Donna.(1984). Manifiesto Cyborg.
Saulquin, Susana.(2019). La muerte de la moda, el día
después. Editorial Paidós.
Saulquin, Susana.(2014). Política de las apariencias.
Editorial Paidós.
Berger John. (2016). Modos de ver. Editorial Gustavo
Gili.
Nachmanovitch Stephen.(1990). Free play: la
improvisación en la vida y en el arte. Editorial Penguin.
Le Breton David.(2018). La sociología del cuerpo.
Croci Paula-Vitale Alejandra. Los cuerpos dóciles.
Editorial La Marca.
Acaso María- Megías Clara. (2017). Art Thinking: Cómo
el arte puede transformar la educación. Paidós
Educación.
Gilles Lipovetsky. (2006). El imperio de lo efímero.
La moda y su destino en las sociedades actuales.
Colección Argumentos. Editorial Anagrama.
Audiovisual design bibliography
Acaso, M. (2006). El lenguaje visual. Paidós. Barcelona.
Eisenstein, Serguei (2001). Hacia una teoría del
montaje. Volumen 1 y 2. Barcelona: Paidós.
Freire, A.; Vidal, M. (2015). Manual de montaje y
composición audiovisual: Técnicas, soluciones,
efectos y trucos. Tarragona: Altaria.
McKernan B., (2005). Digital Cinema: The Revolution in
Cinematography, Post-Production, and Distribution,
Ed.:McGraw-Hill.
W.Rea P. & K. Irving, D., (2010). Cortos en cine y vídeo:
producción y dirección, ed.: Omega.
Graphic design and design management bibliography
Donais, D. (1995): Sintaxis de la imagen, Ed. Gustavo
Gili, Barcelona.
Fletcher, A. (1987): Design in the sidewalk. Ed. Phaidon,
Londres.
Gill, B., i Petit, H. V., & Cavadas, F. P. (1982). Olvide todas
las reglas que le hayan enseñado sobre el diseño
gráfico. Incluso las de este libro. Gustavo Gili.
Harvey, W. 1000 ideas gráficas. Rockport Publishers.
London, 2009.
K. Smith E. How to Make Books. New York: Potter Craft,
2007.
Müller, J.: Sistemas de retículas, G.G. Diseño.
Barcelona, 1982
Potter, N.: ¿Qué es un diseñador? Editorial Paidós.
Barcelona, 2005.
Powell, D. (1985): Técnicas de presentación. Herman
Blume, Madrid.
Sánchez, A. (2001): Barcelona gráfica. Gustavo Gili,
Barcelona.
Zimmermann, Y. (1998): Del diseño. Gustavo Gili,
Barcelona.
31
→ Materials and Technology I
Itinerary: Common, according to itinerary
ECTS Credits: 6
Specific interior design description
Study of the behavior, virtues, and limitations
of materials so that they can be used correctly.
Manufacturing processes of materials and possible
applications in different products. The course is
structured around the description and analysis of
all the parts that make up a building, covering all its
variables: from the construction systems and physical
behavior to the materials used. The second part of
the course proposes direct contact with materials
through samples and visits to suppliers, as well as the
correct taking of measurements and knowledge of
basic furnishings for basic spaces.
Specific product design description
The course combines theory and practice so that
students learn the necessary knowledge about wood
and metal to apply them in future projects.
Understanding industrial procedures determines
whether designs are viable at a productive and
economic level. The subject is based on chemical
concepts to explain the behavior of materials
according to their functions and applications, and
physical concepts to explain the processes in the
different technological applications.
Specific fashion design description
The process will be carried out with transformations
in the pattern with the corresponding base and
assembly on a mannequin to develop the most
creative part. The student will acquire knowledge of
the different volumes, transfers of darts, adjustments,
and looseness to be applied according to the
garment.
Specific graphic design description
In-depth introduction to Adobe InDesign software for
editorial design and layout of graphic materials. The
student will learn to publish books, digital magazines,
e-books, interactive posters and PDFs, and online
documents incorporating audio, video, slideshows,
and animations.
Specific audiovisual design description
Students will learn the techniques, virtues, and
limitations of the different phases of an audiovisual
project: pre-production, scriptwriting, language,
production, and video post-production.
Specific interior design curriculum
1. The structure.
1.1. Introduction: load, force, compression, traction,
parts of the structure.
1.2. Masonry walls: stone, mortar, brick, beam-
jointing.
1.3. Brick masonry: types of bricks, brickwork,
arches and lintels, concrete block.
1.4. Reinforced concrete: one-way slab, two-way
slab, abacus, capital, shuttering.
1.5. Singular: steel and timber structures, truss,
spatial mesh, membrane.
1.6. Pathologies: cracking, settling, thermal
expansion, corrosion, parasites.
2. External cladding.
2.1. Façade: radiation, conduction, convection,
thermal inertia, vapor barrier.
2.2. Roofing: types of roofing, tiles, inverted roofing,
green roofs.
2.3. Roof/Facade: cladding, curtain walling.
2.4. Ground contact: retaining wall, waterproofing,
sanitary floor slab.
3. Interior carpentry and partition walls.
3.1. Carpentry 1: types of opening, thermal bridge,
types of glass, solar factor, etc.
3.2. Carpentry 2: transparency and opacity, natural
light coefficient, blinds, etc.
3.3. Carpentry 3: passive solar heating, protective
barrier, openings in roofs
3.4. Partition walls: interior partition walls in ceramic,
plasterboard, wood, and glass.
3.5. Timber cladding: wall framing, stud details,
joints, and seals.
4. Installations.
4.1. False ceiling, raised floor, lift, escalator.
4.2. Rainwater, sewage system, sanitary fittings.
4.3. Heating and boiler systems, and cooling
installations.
4.4. Electrical network, lighting.
5. Materials.
5.1. Natural stones.
5.2. Ceramics.
5.3. Wood.
5.4. Other materials.
5.5. Lighting as a material.
5.6. Doors, partitions, and decorative elements.
5.7. Fabrics.
6. Measurements.
7. Furniture.
7.1.Kitchen.
7.2. Washbasin.
7.3. Bedroom - Living room - dining room.
Specific product design curriculum
1. Woods:
- History of wood.
- General: Solid / Veneers / Boards / Laminates.
- Transformation processes: Reduction / Numerical
Control / Shearing / Deformation / Shaping / Re-
forming / Recomposition.
- Uses.
- Finishing.
2. Metal:
- History.
- Properties and types of metal.
- States of metal (liquid/plastic/solid).
- Cutting.
- Joining.
- Finishing.
Specific fashion design curriculum
The subject “Materials and Technology” will be linked
to “Projects I”. During the course, four projects will be
carried out in which pattern-making techniques will
be developed.
Specific graphic design curriculum
1. Introduction to InDesign.
- Creating a new document.
- Saving documents.
- Moving around in InDesign.
- Zooming and panning.
2. Adding text.
- Understanding frames.
- Adding text with the Text tool.
- Creating columns of text.
- Importing text.
- Flowing text between frames.
3. Formatting text.
- Change font and font size.
- Basic text formatting.
- Saving text formatting as a style.
- Editing text styles.
4. Adding and transforming graphics.
- Adding graphics to your project.
- Move, resize and adjust graphics.
- Learn more about linked graphics.
- Wrap text around objects.
5. Apply colour and effects.
- Change the colour of the content.
- Save colours as swatches.
- Add effects such as drop shadow.
6. Edited content.
- Create and edit frames for graphic elements.
- Rotate, flip, lock and hide content.
- Align and group content.
- Create alignment guides.
7. Multi-page documents.
- Navigate through the pages of a document.
- Create and edit pages.
- Using a master page and adding content.
- Set margins and columns.
8. Organise content with layers.
- Change the order of content.
- Understanding layers.
- Creating and editing layers.
9. Adding interactivity.
- Adding interactivity.
- Share interactive documents with Publish Online.
10. Sharing InDesign projects.
- Sharing InDesign files.
- Export as PDF.
Specific audiovisual design syllabus
1. Introduction to cinematography.
2. Camera parameters and recording formats.
3. Pre-production Breakdown.
4. Set Crew.
5. Camera equipment.
6. Fundamentals of light.
7. Quality of light.
8. Directionality.
9. Narrative uses of color.
Interior design bibliography
Allen, E. (2001). Cómo funciona un edificio. Principios
elementales. 1a edición, Madrid: Editorial Gustavo Gili.
Hegger, M. / Drexler, H./ Zeumer, M. (2010). Materiales.
Barcelona: Editorial Gustavo Gili.
Product design bibliography
Lesko, Jim. Industrial Design: manufacturing guide.
John Willey & Sons, Inc., Hoboken, New Jersey 2008.
Rob Thompson. Manufacturing Processes For Design
Profesionals. Thames and Hudson. London, 2007.
Albert Jackson y David Day. Guías Ceac de la Madera.
Grupo Editorial Ceac. Barcelona 1997.
Tage Frid. Tage Frid Teaches Woodworking. The
Taunton Press. Newtown, 1993.
R.J. DeCristoforo. The Complete Book of Wood Joinery.
Sterling Publishing. New York, 1997.
Peter Korn. The Woodworker´s Guide to Hand Tools.
The Taunton Press. Newtown, 1998.
Wolfram Graubner. Ensambles en Madera. Ediciones
Ceac. Barcelona, 1991.
Charlotte & Peter Fiell. Modern Chairs. Taschen. Köln,
1993.
Fashion design bibliography
Connie Amaden-Crawford. Confección de moda vol.1
Técnicas básicas.
Basia Szkutnicka. Technical drawing for Fashion.
Tomoko Nakamichi. Pattern magic (1 y 2).
32
→ Business I: organization and processes
Itinerary: Common
ECTS Credits: 6
Description
The objective of the course is for the students to:
1. Learn about the basic tools to understand
the purpose of a business and the fundamental
building blocks to create a business.
2. Apply the tools learnt in class in the case study
analysis (Module I) and the innovation project
(Module II).
It is a practical course where students will learn
through doing. The lecturer will present theory in class
which will then be applied in a real case or project.
This is an introductory level course and the objective
is to introduce students to key business concepts
which they will then develop further in BUSINESS II.
Core curriculum
Module I: Innovation Project
Students apply the learnings in the creation of a
new business idea. They will start by identifying and
analyzing a problem, then they will create a solution
which they will then test with real clients. They will
work in teams.
Module II: Business Plan and Business Model Canvas
Students will learn the fundamentals of creating a
business plan using the Business Model Canvas as
a tool. They will learn each of the core components
of the Canvas, as well as how the different parts of
the Canvas interact. The theory will be applied in the
business opportunity identified in the module I and
the work will be in teams.
Bibliography
Osterwalder A., Pigneur Y. (2010), Business Model
Generation, John Wiley & Sons.
Ries E., The Lean Startup (2011), Crown Publishing
Group.
Brown, T. Change by Design, (2009), Harper Collins.
→ Ethics of the Profession
Itinerary: Common
ECTS Credits: 6
Description
Design ethics is the science that studies the behaviour
(praxis) of the designer in terms of right and wrong,
better and worse. In this course, we will establish
a framework, tools and behaviours to be able to
analyse professional behaviour and to provide you
with the tools to design with more judgement. The
main design tool will be valued, understood as fluid
and often in competition, which will turn them into
design principles that will guide your technical,
formal, conceptual, structural, production, sales and
consumer decisions.
Core curriculum
1.1 Why a design ethic?
1.2. What is the relationship between ethics and
design?
1.3. The future responsibilities of design:
- Vilem Flusser.
- Clive Dilnot.
- Josep Maria Martí Font.
- Jordi Pericot.
2.1. Defining the basic concepts of applied ethics:
- What is “ethics”? What is moral? How do they
work? How are they transmitted?
- Piaget’s and Kohlberg’s stages of moral
development.
- What are the principles of applied ethics?
3.1. What are ethical values? How do they work? How
are they transmitted?
- Individual values:
· Of the learner.
· Of the professionals.
- Values of the collective:
· Codes of ethics of design associations.
· Collective manifestos.
4.1. Ethical values of the past.
- Values in the history of design.
5.1. Ethical values of the present. New design
philosophies and fields of action:
- Sustainable design.
· Emotionally durable.
· Slow Design.
· Cradle to Cradle.
· Sustainable Aesthetics.
- User-Centred Design.
- Universal Design, for all, inclusive.
- Open Design.
- Co-design.
6.1. Ethical values as a design tool.
- Application of learning to the Final Project.
Bibliography
Alcoberro, R. (2004). Ètiques per a un món complex.
Un mapa de les tendències morals contemporànies.
Pagès Editors. Lleida.
Els valors. La tria personal i l’interès
col·lectiu. Editorial La Campana. Barcelona.
Torralba, Francesc (2001). Cent valors per viure. La
persona i la seva acció en el món. Pagès
editors. Lleida.
Audiovisual design bibliography
Gill B. Olvide todas las reglas que le han enseñado
sobre diseño… Ed.G.Gili, 1992.
K. Smith E. How to Make Books. New York: Potter Craft,
2007.
Avendaño, Luis. Iniciación a los materiales plásticos.
McKernan B., Digital Cinema : The Revolution in
Cinematography, Post-Production, and Distribution.
Ed.:McGraw-Hill, 2005.
W.Rea P. & K. Irving, D., Cortos en cine y vídeo:
producción y dirección. ed.: Omega, 2010.
33
10.3 Third academic year.
Common subjects
→ Business II: Organization and
Processes
Itinerary: Common
ECTS Credits: 6
Description
This subject is meant to prepare the students to
face the professional world and to be in contact
with different representatives who regulate the
companies’ destinations. Equally, it intends to provide
them the working and management tools, based on
the standards of the company, the competence and
the market, so as to make the dialogue among the
designer and the company possible.
Core curriculum
1. Business environment:
1.1. Nature of enterprises: Entrepreneurship and
start-ups.
1.1.2. Business growth, business innovation, and
Technology business.
1.1.3. International business.
1.2. Business modeling: development of a business
model. Core business, organization: business
models, entrepreneurial decision process (vision,
strategy, action).
1.3. Entrepreneurial strategy (introduction):
entrepreneurship, innovation, and entrepreneurial
strategies.
1.4. Analysis of the business environment: micro and
macro environment and competitive landscape.
2. The enterprise from various points of view:
2.1. Actors involved in the business scenario:
customers, suppliers, stakeholders, and public
opinion.
2.2. Direct actors: customers.
2.2.1. B2B-B2C customers.
2.2.2. Segmentation.
2.2.3. Segmentation strategy.
2.3. Direct actors: suppliers.
2.3.1. Key players of our business.
2.3.2. Strategic Alliances.
2.4. Market positioning for the point of view of
different actors.
3. Relationship between company and designer:
3.1. Definition of goals and delimitation of projects.
SWOT analysis.
3.2. The designer as a market researcher:
3.2.1. Research process and typologies of
research.
3.2.2. Research design and research tools:
survey, interviews, focus groups, and participant
observation.
3.3. Launching the project:
3.3.1. Development, prototyping, and Minimum
Viable Product (MVP).
3.3.2. Market testing.
3.4. Communication management:
3.4.1. Communication skills, leadership, and
motivation.
3.4.2. Internal communication.
3.4.3. Negotiation and Conflict Resolution.
4. Marketing plan:
4.1. Product development and market scalability.
4.1.1. Brand positioning.
4.1.2. Brand portfolio segmentation and targeting.
4.2. Marketing mix.
4.2.1. Pricing and sources of finance.
4.2.2. Distribution.
→ Design Issues
Itinerary: Common
ECTS Credits: 6
Description
The course proposes a visual and conceptual study
of the itineraries of international art and design
production, from the end of the 20th century to the
present day. It will analyze current moments and
knowledge of current debates about art, architecture,
design, and their context. The critical reading of the
twists and turns and debates of our time is intended
to provide knowledge about the context of post-
industrial culture and thus encourage attitudes in
the professional development of the design. Also, in
accordance with the learning objectives, the subject
proposes to raise and debate, from the studies
and practice of design itself, the interweaving of
social, cultural, technological, and economic issues.
Emphasis will be placed on the evolutionary and
exponential contextualization of design, as well as on
the main characteristics, methods, and tools that the
discipline of design and designers have generated
to establish themselves not only as a creative
practice but also as know-how capable of integrating
complexity to face current and future challenges; of
mediating between knowledge and the lives of people,
groups, and societies.
Core curriculum
Module 1:
1.1. Genealogies of contemporary culture.
1.2. Modernity, anti-modernity, post-modernity, alter-
modernity
1.3. Posthumanism.
1.4. Cartography of trends and concepts.
Module 2:
2.1. Design and contextualization of professional
praxis. From “Total Design” to the Design of Futures.
2.2. Evolution of design studies and professional
practices (functions, tools, and methodologies of
design).
2.3. Design and narratives of the future: Design and
innovation; eco-design versus sustainability; Systemic
design and circular economy; Integral design
management.
2.4. Design as a life and professional project.
Bibliography
Jean-Francoçois Lyotard, La condición postmoderna,
Cátedra, Buenos Aires, 1991.
Hal Foster, La posmodernidad, Kairos, Barcelona, 1998.
Hal Foster, “Asunto: Post” en Brian Wallis (ed.), Arte
después de la modernidad. Nuevos planteamientos
en torno a la representación, Madrid, Akal Arte
Contemporáneo, 2001, pp.193-194.
Anna Maria Guasch, El arte último del siglo XX, Madrid,
Alianza, 2000.
Nicoulas Bourriaud, Radicante, Buenos Aires, Adriana
Hidalgo, 2009.
Victor Papanek, Diseñar para un mundo real. Ecología
humana y cambio social. Pol.len edicions.
Alice Rawsthorn, El diseño como actitud. Gustavo Gili.
Barcelona, 2021.
4.3. Communication plan.
4.3.1. Communication campaign: what to say, who
to say, how to explain, how to measure?
4.3.2. Communication mix.
4.3.3. Pull and push communication strategies.
4.3.4. Public Relations, sponsorship, and
institutional communication.
5. Finance:
5.1. Pricing.
5.2. Corporate finance.
5.2.1. Margins and cash flow.
5.2.2. Investment.
5.3. The Designer as a Project Manager.
5.3.1. Budget.
5.3.2. Financial indicators.
5.4. Strategic Alliances and financing models.
Bibliography
Abrahms, R (2014). Succesful Business Plan: Secrets
and strategies. Planning Shop.
Fashionary Team (2019). The Fashion Business
Manuela; an illustrated guide to building a fashion
brand, Fashionary International Ltd, Hong Kong.
Osterwalder A., Pigneur Y. (2010), Business Model
Generation, John Wiley & Sons.
34
→ Comprehensive Projects II
Itinerary: Common, according to itinerary
ECTS Credits: 8
Specific product and interior design description
The main objective of the subject is to provide the
student with working tools, arguments, references,
and design criteria, design approaches that place
the user at the center of the project, delving into
techniques for detecting and questioning the needs
of users and interpreting their context in order to
generate solutions.
Specific fashion design description
The main essence of the subject is to develop and
strengthen students’ creative attitude. To broaden and
consolidate cultural and aesthetic references in their
creative background.
Specific graphic and audiovisual design description
Based on a thematic proposal, students have to apply
the methodology(ies) of design in the realisation of
projects. The development of projects is proposed
that allow the practice of design to expand beyond
the limits of the discipline itself. The aim is to develop
a critical and non-compartmentalised view, to
strengthen the ability to materialise ideas, as well as
to influence the communication of a project, as part
of the proposal. Projects are developed in teams,
contributing experiences and solutions in other fields
and from different points of view.
Specific product and interior design curriculum
Module 1:
- Context analysis.
- Trend Analysis.
- Target - Persona Definition.
- Customer Journey.
- Proposal representation.
- Preparation, execution, and documentation of user
interviews.
- Testing and improvement iterations.
- Usability Storyboard.
- Technical project documentation.
Module 2:
- Project methodology in retail and contract
projects.
- Retail space and furniture redesign.
- Analysis and updating of the new uses/formats
and architectural-technical with integral circular
design criteria.
- Interior design of “contract” spaces.
- Analysis and updating of the new uses/formats
and architectural-technical with integral criteria of
healthy and circular design.
Specific fashion design curriculum
1. Search and analysis of current trends.
2. Search and analysis of inspiration/information
for the project (elements of interest in images and
concepts. Sketches, color and textile proposals,
manipulations, research, proposals for contents and
containers in collages, mood boards, etc...).
3. Transfer of personal and artistic discourse to paper.
Specific graphic and audiovisual design curriculum
1. Context analysis, referent analysis
2. Conceptualisation of ideas, elaboration of a
coherent discourse.
3. Strategy formulation, objectives, synthesis of
concepts, appropriation of strengths, key words,
communication.
4. Proposal development, materialisation, support
material, visualisation of concepts, tangible resources
to formalise the proposal.
5. Presentation or staging.
Product and interior design bibliography
Siân Moxon (2012). Sostenibilidad en interiorismo.
Editorial Art Blume, SL.
Òscar Guayabero, Ramon Úbeda (2016). Conversación
polifónica sobre diseño y otras cosas. Retrato
imperfecto de Curro Claret. Editorial Gustavo Gili, SL.
www.arquinfad.org/premisfad
www.activehouse.info
Fashion design bibliography
Paz Diman. The Poetry of Fashion Design. A
celebration of the world’s most interesting fashion
designers, Ed: Rockport.
The Fashion Book, Ed. Phaidon.
Fashion Now 2, Ed. Taschen.
Scott Schumann. The Sartorialist.
Street View, Ed. Nylon.
Ted Polerms. Street Style, Ed. Pimca.
K. Jenkins. Encyclopedia of Exquisite. An anecdotal
History of Elegant Delights.
Modemusam Hasselt. Dressing the 20th Century.
Women’s fashion in the designer era.
Cara & Co. Sinergy of Art and Fashion with precious
care from Vendôme Luxury.
Les années 1990/2000. Histoire idéale de la Mode
Contemporaine, Mode et Textile.
Atlas of Fashion Designers.
The little black jacket, Steidl.
Fuck Yeah Menswear, The Editors of Fuck Yeah
Menswear.
Daniele Tamagni. Gentlemen of Bacongo.
Cally Blackman. 100 años de moda masculina, Ed.
Blume.
Bernhard Roetzel. El Caballero. Manual de Moda
Masculina, Ed. HF Ullmann.
Terry Jones & Susie Ruston. Moda Hoy, Ed. Taschen.
Tomoko Nakamichi. La magia del Patronaje, Colección
GGmoda.
Harriet Worsley. Décadas de Moda, Ed. Köneman.
Seivewright. Diseño e Investigación (Manuales de
Diseño de Moda), Ed. G. Gili.
Steven Vogel. Una guía de la moda urbana, Ed.
Gustavo Gili.
Patrick & Marc Gretta. Vintage T-Shirts, Ed. Taschen.
Graphic and audiovisual design bibliography
Aicher,Otl (1994). El mundo como proyecto. GG Diseño.
Colli,S. Perrone, R. (2003). Espacio-Identidad-
Empresa. Editorial GG.
Crary, J. (2015). 24/7 El Capitalismo al asalto del sueño.
Bcn: Editorial Ariel
Glaser, Milton (2011). Diseñador/ciudadano. Cuatro
lecciones breves (más o menos) sobre diseño. GG.
Llaneza, P. (2019). Data Nomics. Bcn: Editorial Planeta.
Maeda, J.2006. Las leyes de la simplicidad. Editorial
Gedisa.
Parga, M. (2019). Lo que no te enseñaron en la escuela
de cine. Bcn: Hoaki Books.
Peirano, M. (2019). El enemigo conoce el Sistema. Bcn:
Grupo Editorial.
Wajcman, J. (2020). Esclavos del tiempo: Vidas
aceleradas en la era del capitalismo digital. Paidos
México.
35
→ Materials and Technology II
Itinerary: Common, according to itinerary
ECTS Credits: 6
Specific interior design description
This course combines lectures with project-based
learning activities. The practical sessions include
active and cooperative learning methodologies, such
as learning based on built projects.
Specific product design description
Theoretical-practical subject aimed at acquiring
descriptive and technical knowledge about plastics
and experimental materials applied to product design
and their application.
Specific fashion design description
Study of the behavior, virtues, and limitations
of materials so that they can be used correctly.
Manufacturing processes of materials and possible
applications in different products. In-depth study
of the technical processes for developing garments
according to the difficulties.
Specific grafic design and design management
description
To gain first-hand knowledge of the processes by
which the image passes from a printed form to a
support (paper, vinyl, plastic, etc.) by means of the
different types of printing and finishing (offset, silk-
screen printing, flexography, vacuum engraving), and
even types of binding. To know the different types
of materials used in the graphic arts as well as inks.
To understand how to create a briefing (BI) and how
to create the final artwork (AAFF) to be printed. In
addition to knowing the technology and materials
used in this industry, they will also practice how
to make binding by hand. In the second module,
students will review and learn the current work
processes for designing and developing websites
and prototyping mobile applications with WordPress
and Sketch following the UX/UI methodologies and
techniques.
Specific audiovisual design description
Theoretical-practical subject aimed at acquiring
descriptive and technical knowledge in lighting design
and sound design for audiovisual productions.
Specific interior design curriculum
1. Generic groups of materials:
- Wood.
- Stone materials.
- Glass
- Ceramic materials.
- Metals.
- Continuous coatings: lime, chalk, paints.
- Plastic materials.
- Textiles.
- New materials.
2. Another cataloging:
- Flat materials.
- Amorphous materials.
- Aggregate materials.
- States: solid, liquid, and gaseous.
3. The invariants of the interior space:
- The openings are in turn differentiated into
entrances (doors) and windows.
- Vertical surfaces can be interior partitioning or
façade elements.
- Horizontal surfaces can be flooring or false
ceilings.
- Inclined surfaces can be false ceilings or
circulation ramps.
- Circulation elements: stairs.
- The context of the element.
- The type, the characteristics.
- The construction detail.
Specific product design curriculum
Module 1: Plastics.
1. History.
2. Elementary polymer chemistry.
3. Processes:
- Injection moulding.
- Extrusion.
- Extruded blow moulding.
- Injection blow moulding.
- Rotomoulding.
- Compression moulding.
- Casting.
- Resins.
- Thermoforming.
4. Finishing.
Module 2: New materials.
1. Pla, abs, pet-g. Additive printing. 3D printing moulds.
2. Ceramic 3d printing.
3. New printing materials. Fluid printing.
4. Milling by digital design. Rhinoceros, Grasshopper,
Solidworks Cam.
5. Engraving. Slicer for Fusion.
6. Biomaterials.
7. Thermoforming of non-plastic surfaces.
Specific fashion design curriculum
1. Collection garment.
2. Projects II garment: Denim.
3. Projects II garment: Leather.
4. Tailored blazer.
5. Projects II garment: volume research.
Specific graphic design and design management
curriculum
Module 1: Graphic Arts.
1. Analysis of case studies within the graphic arts.
2. Understand the different materials and inks to apply
to print projects.
3. Develop well-prepared documents to print.
4. Know how to bind and understand how to handle
materials during the process.
Module 2: web design.
1. UI and UX: Introduction to UI and UX.
- History of UX and UI.
- Style guide and wireframes.
2. WordPress.
- Introduction to WordPress.
- Content types.
- WordPress Plugins.
- WordPress Themes.
- Custom CSS.
- Image optimization.
3. Sketch
- Introduction to Sketch.
- Assets and Components.
- Components and States.
- Prototyping.
- Sketch Plugins.
- Export Formats.
Specific audiovisual design curriculum
Module 1: Lighting
1. General notions about lighting.
2. Meaning of light.
3. Basic light.
4. Quality of light.
5. Direction of light.
6. Composition of light.
7. Intensity of light.
8. Special effects.
Module 2: Sound
1. Basic parameters and dimensions: Listening and
perceptual thresholds of sound.
2. Soundscape I. Listening with and without
technology. Bases of acoustic ecology.
3. Soundscape II. Recording the soundscape.Tools
and methodologies.Transducers and sensors: aerial
microphones, hydrophones, contact microphones.
4. Fieldwork 1. Field recordings with the different
materials worked on.
5. Soundscape III. Tools for analysis and comparative
listening.
6. Soundscape IV. Fieldwork 2. Recording and sound
mapping of a given territory.
territory.
7. Analysis and adaptation of the sound materials
recorded in the field recording sessions.
8. Basic tools for the installation of sound in space.
9. Introduction to digital signal control by means of
sensors and MIDI.
10. Design of a multifocal installation based on
recorded sound materials. The final project of the
course.
Interior design bibliography
Watts, A. Modern Construction Handbook. Third
edition. Basel: Birkhäuser, 2018.
Addis, Bill. Building: 3000 years of design, engineering
and construction. London: Phaidon, 2007.
Orton, Andrew. The way we build now: form, scale and
technique. London [etc.]: E & FN Spon, 1991.
Calavera Ruiz, José. Muros de contención y muros de
sótano. 3a ed. Madrid: Instituto Técnico de Materiales
y Construcciones, 2001.
Rodríguez Liñán, Carmen. Pantallas para excavaciones
profundas. Sevilla: Escuela Técnica Superior de
Arquitectura de Sevilla, 1995.
González Caballero, Matilde. El terreno. Barcelona:
Edicions UPC, 2001.
Regalado Tesoro, Florentino. Los forjados de los
edificios: pasado, presente y futuro. Alicante: CYPE,
1999.
Pujadas Gispert, Ester. Prefabricated foundations
for housing applied to room modules. Barcelona:
Universitat Politècnica de Catalunya. Departament de
Tecnologia de l’Arquitectura, 2016.
Product design bibliography
Sascha Peters. Material Revolution, Sustainable and
multi purpose materials for design and architecture.
Editorial Birkhäuser 2010, Frankfurt.
Christiane Sauer. New Materials Sourcebook for
Architecture and Design. Editorial Prestel Pub 2010,
Berlin.
Fashion design bibliography
Nakamichi Tomoko (2007). Pattern Magic, Vol. 1 y 2.
Books Bunka, Japón.
Audiovisual design bibliography
Millerson, G. (2009). Técnicas de realización y
producción en televisión. Madrid: IORTV.
Michael Uva. (2009) The Grip Book. FocalPress.
Almendros Cuyas, Nestor. (1992) Días de una cámara.
Madrid, Seix Barral.
Alten, Stanley R. (2008). El sonido en los medios
audiovisuales. Andoain, Escuela de Cine y Vídeo,
Chapter 04.
36
→ Projects II
Itinerary: Common, according to itinerary
ECTS Credits: 8
Specific interior design description
The subject is configured as a central axis upon which
all the specialty knowledge is synthesised. It is the
meeting point of the different contents that make it
up and that, therefore, includes tools which have a
double-role: conceptual and technical.
Specific product design description
Through different projects, the ability to explore
creative skills, analysis, and resources, and overcome
adversities in the face of a project is encouraged.
Adopt criteria of aesthetics and evaluation of
forms and details. Make decisions to determine the
necessary elements and the most suitable materials.
Specific fashion design description
In the first term, the course deals with the textile sub-
sector of denim and knitwear design. In the second
term, leather will be worked on in a theoretical and
projectual way.
Specific graphic design description
In this subject, project-based and mainly practical
exercises will be proposed. To internalize and
understand design methodologies in order to know
how to analyze, develop and execute a project
with a solid discourse and work. In the first term,
students will work on projects more focused on
corporate identity. They will delve into the meanings,
conceptualization, and all those aspects that define a
brand image. Emphasis will also be placed on taking a
look at the digital world: to be able to give movement
and life to an identity. In the second term, the focus
will be on publishing, working on the generation of
content, typography, editorial design, art direction,
and graphics applied to packaging.
Specific audiovisual design description
The course explores in depth the project methodology
used in previous years, paying attention to the
creation of scripts/indexes for audiovisual projects,
background studies, project aesthetics, work plan,
budget development, and production of an audiovisual
documentary project.
Specific design management description
The course is designed with the aim of learning and
mastering the necessary tools and skills to be able
to analyze, conceptualize, prototype, and produce
a project, idea, or product that meets the needs
required by the initial briefings.
Specific interior design curriculum
1. Relationships.
1.1. Spatial relationships in the realization of a
project.
1.2.Relationships between the parts of the program.
1.3. Levels of relationship.
2. Organisations.
2.1. Organisations of the form and space of the
project.
2.2. Strategies.
3. Circulations.
3.1. Circulation as an element of connection
between spaces.
3.2. Circulation as an element that delimits spaces.
4. The conditioning factors.
4.1. Ambience of the space.
4.2. Environmental conditioning factors.
5. Materiality.
5.1. Relationship between space and matter.
5.2. Matter as a configuring element of space.
6. Lighting.
6.1. Influence of light sources on spaces.
7. The organization of the project.
7.1. Project organization process.
Specific product design curriculum
1. Graphic expression.
- Representation of plans.
- Graphical representation of individual parts.
- Advanced dimensioning.
- Manufacturing specifications.
- Graphical representation of assemblies of parts.
- Standardised tolerances.
2. Project Methodology.
- Types of projects.
- Parts making up a project.
- Project briefings. Commissioning and approach.
- Product data sheet.
3. Project practice.
- Research, definitions, and relevant analysis.
- Development of proposals, from the first ideas to
the final proposal.
- Project documentation.
Specific fashion design curriculum
1. Idea germ (Moodboard) and the approach on how
to tackle it.
2. Documentation and search for all types of
information, for the maximum enrichment of
the Moodboard, which will enable the student to
adequately face the subsequent evolution of the
project.
3. Analysis of all the elements involved in each of the
garments that make up each Look of the Capsule-
Project, within an integral design idea.
Specific graphic design curriculum
Module 1:
1. The generation of identity, how to analyze, select
and conceptualize what is characteristic or particular
to a theme and translate it graphically.
2. Designing a system: Identity, naming, and
campaign.
Module 2:
1. Editorial design from personal content.
2. Art direction in packaging.
Specific audiovisual design curriculum
1. Introduction to the design, writing, and
implementation of audiovisual projects.
1.1. Study of different models of project writing in the
audiovisual field.
1.2. Brainstorming and Think-tank: Methods of
creation and development of ideas.
1.3. Definition of the thematic field.
1.4. Definition of the academic “problem”.
1.5. Documentation
1.6. Definition of the objectives: General and specific
objectives.
1.7. Background study related to the proposal.
1.8. Definition of main and complementary
references (bibliography, filmography, etc.).
1.9. Originality of the proposal.
2. Writing: Development of contents.
2.1. Thematic and aesthetic development of the
proposal.
2.2. Analysis and study of the referents.
2.3. Study and development of specific presentation
models, adapted to the chosen production formats.
Chion, Michel. La audiovisión. Introducción a un
análisis conjunto de la imagen y el sonido. Barcelona,
Paidós, 1993.
Davis Gary, Jones Ralph. Sound Reinforcement
Handbook. Hall Leonard Pub.Corp., Milwaukee, 1987.
Middleton, Paul; Gurevitz, Steven. Música digital.
Técnicas y proyectos. Madrid, Anaya Multimedia, 2008.
Wyatt, Hilary & Amyes, Tim. Audio Post Production for
Television and Film. An introduction to technology and
tecnhiques. Elsevier, Burlington, 2005.
Graphic design bibliography
Martín, E.; Tapiz, L. (1981). Diccionario Enciclopédico de
las Artes e Industrias Gráficas. Barcelona. Ediciones
Don Bosco.
Mason, Daniel (2007). Materials, process, print.
Creative solutions for Graphic Design. London.
Laurence King Publishing.
Pozo Puértolas, Rafael (2016). Producción Gráfica.
Barcelona. Ediciones CPG, 3a edición ampliada.
Henry Dreyfuss (1955). Designing for People.
Donald Norman (1988). La psicología de los Objetos
Cotidianos.
Krug. (2006). Don’t Make Me Think. Pearson India.
Dawson, A. (2013). Future-proof web design. Hoboken,
N.J.: Wiley.
37
2.4. Definition of the “style sheet” and rules for
writing the project.
2.5. Final development of the main items: a)
Abstract; b) Introduction; c) Objectives; d) Thematic
development; e) Aesthetics; f) References; g)
Bibliography, Videography, Filmography.
2.6. Definition of the work plan.
2.7. Breakdown of areas and phases of the work.
3. Project feasibility studies
3.1. Development of the Budget and the work plan.
3.2. The role of Graphical Interfaces in the
development of a project.
3.3. Planning and design of production diagrams.
3.4. Graphical representation of the work plan.
3.5. Timing models.
3.6. Templates for milestones (objectives and
expected results).
3.7. Budget spreadsheets.
3.8. Flowcharts.
4. Production.
4.1. Demo, pre-tests, and implementation of the
play.
4.2. Staging studies.
4.3. Content generation and implementation tests.
4.4. Production strategies and resource
management.
4.5. Layout and implementation of Demos (Teaser).
4.6. Script writing and worksheets.
5. Post-production.
5.1. Production and implementation of the work.
5.2. Generation of the material.
5.3. Editing and editing of the project.
5.4. Dissemination and marketing strategies.
5.5. Development of the Final Report.
5.6. Balance and final conclusions.
Specific design management curriculum
Module 1:
- Scope.
- Planning and control.
- Budget and cost calculation.
- A project feasibility study.
- Agile methodologies in management.
- Risk management and contingency plan.
- Closure and lessons learned.
Module 2:
- Editorial design from personal content.
- Art direction in packaging.
Interior design bibliography
Scott Brown,D., Venturi,R. (1971). Aprendiendo de todas
las cosas. Barcelona: Tusquets editor.
Pallaasma, J. (2006). Los ojos de la piel. Gustavo Gili.
Francis D.K. Ching (1998). Forma, Espacio y Orden.
México: Editorial Gustavo Gili.
Product design bibliography
Charlotte & Peter Fiell, 1000 Chairs. Ed. TASCHEN
Charlotte & Peter Fiell, 1000 Lámparas. De 1878 hasta
la actualidad. Ed. TASCHEN.
Jun’ichirō Tanizaki, L’elogi de l’ombra (1933). Angle
Editorial.
Bruno Munari, ¿Cómo Nacen los Objetos? Apuntes
para una metodología proyectual. GG Diseño.
Naoto Fukasawa y Jasper Morrison, Super Normal.
Sensations of the Ordinary. Lars Müllers Publishers.
Anna Calvera, De lo Bello de las cosas. Materiales para
una estética del diseño. GG Diseño.
Web Museu del Disseny de Barcelona.
Web ADI-FAD.
Web AHEC American Hard Wood.
Fashion design bibliography
Diseño de prenda de punto. Editorial: BLUME.
Prendas de punto. Editorial: GUSTAVO GILI.
ALISON GWILT. Moda sostenible (Manuales de diseño
de moda). Editorial Gustavo Gili.
ELENA SALCEDO. Moda ética para un futuro sostenible.
Editorial Gustavo Gili.
CHARLES EISENSTEIN. El Yoga del Comer. Editorial
Acanto.
MARIA TERESA LLADÓ I RIBA, EVA PASCUAL I MIRÓ. El
Cuero. Editorial Parramón.
OTIS INGRAMS. Artesanía en cuero. Editorial Blume.
Graphic design and design management bibliography
Donais, D. (1995): Sintaxis de la imagen, Ed. Gustavo
Gili, Barcelona.
Fletcher, A. (1987): Design in the sidewalk, Ed. Phaidon,
Londres.
Gill, B.; Petit, H. V., & Cavadas, F. P. (1982). Olvide todas
las reglas que le hayan enseñado sobre el diseño
gráfico. Incluso las de este libro. Gustavo Gili.
Harvey, W. 1000 ideas gráficas - Rockport Publishers.
London 2009.
K. Smith E. How to Make Books. New York: Potter Craft,
2007.
Müller, J.: Sistemas de retículas, G.G. Diseño,
Barcelona. 1982.
Potter, N.: ¿Qué es un diseñador? Editorial Paidós.
Barcelona. 2005.
Powell, D. (1985): Técnicas de presentación, Herman
Blume, Madrid.
Sánchez, A. (2001): Barcelona gráfica, Gustavo Gili,
Barcelona.
Zimmermann, Y. (1998): Del diseño, Gustavo Gili.
Barcelona.
Audiovisual design bibliography
Eco, U. (2004). Cómo se hace una tesis. Barcelona:
Gedisa.
Mancuso, R. H. (1999). Metodología de la investigación
en ciencias sociales.Buenos Aires: Paidos.
Vilchis, L. C. (2002). Metodología del diseño. México:
Centro Juan Acha.
38
10.3.1 Third academic year.
Fashion design subjects
→ Collection concepts
Itinerary: Fashion design
ECTS Credits: 4
Description
The subject presents the key ideas that have
transformed 20th-century fashion. These are
Comfort, The new Eve (the military style, the sporty
style, androgyny), Exoticism, Aesthetics of the ugly
(deconstruction, the new luxury, the return to origins
and technology), and The new man.
Core curriculum
1. Definition of the field of study.
- The 20th century or the century of decades: a
new style every 10 years?
2. The major drivers of change/transforming agents.
- Comfort as a transforming element of fashion;
necessity/inspiration.
- The new Eve.
- The century of speed. The acceleration of change
in fashion; information/transformation.
- Cinema as a mirror and disseminator of fashion.
- The century of mass media.
- The aesthetics of the ugly / the new conception
of beauty. Surrealism, the punk revolution, and
counterculture.
- Fashion for all. The century of the democratization
of fashion. Technology made it possible / Haute
couture -RTW-PAP- Fast Fashion.
- The “law of the street as inspiration” (modernity
and postmodernity).
- The law of the street as a sales strategy”
(disenchantment): Hypermodernity.
- Deconstruction, or the aesthetics of
postmodernity. Crossbreeding. Recycling and
other border aesthetics. Decontextualization or the
beginning of a new creative path in fashion.
- The new luxury. The renewal of the LVMH group’s
firms. The democratization of luxury. The birth of
mastige.
- The return to the origins and technology as major
sources of inspiration. Sustainability versus Hip
Technology.
- The new masculinity.
Bibliography
Yvonne Deslandres, Florence Müller. Histoire de la
mode au XXe Siècle. Edit. SOMOGY, Paris 1986.
Charlotte Seeling. El siglo de los diseñadores, 1900-
1999. Edit. Köneman, 2000.
Gilles Lipovetsky. El imperio de lo efímero. Edit.
Anagrama. Barcelona, 1990.
Nicola Squicciarino. El vestido habla. Edit. Catedra.
Madrid, 1990.
Karl Rosenkranz. Estética de lo feo. Edit. Julio Ollero
Editor, 1992.
Joanne Entwistle. El cuerpo y la moda. Edit. Paidós.
Barcelona, 2002.
Margarita Riviere. Crónicas virtuales. Edit. Anagrama
col. Argumentos. Barcelona, 1998.
Art/Fashion. Edit. Biennale de Firenze, 1997.
Regine and Peter Engelmeier. Fashion in film. Edit.
Prestel, 1997.
Ted Polhemus. Street Style. From sidewalk to catwalk”.
Edit. Thames and Hudson. London, 1994.
Ted Polhemus.Style Surfing. What to wear in the 3rd
Millennium. Edit. Thames and Hudson. London, 1996.
Clara Wilcox. Radical Fashion. Edit. Victoria & Albert
Museum. Londres, 2001.
F. Bonami, M. L. Fisa, Stefano Tonchi. Uniform. Order
and disorder. Edit. Charta. Milan, 2000.
→ Textile Computing I
Itinerary: Fashion design
ECTS Credits: 4
Description
The course focuses on learning one of the most
powerful virtual design programmes on the market,
Clo 3D. Using the Clo 3D design programme, a 3D
fashion design software, and its three-dimensional
design tools, the student learns to visualise the
pieces virtually thanks to the latest simulation
technology, obtaining a realistic approach to pieces
and collections in less time and at a low cost. The
student acquires tools with which he learns to
prototype quickly and interactively working in real-
time. Instantly it reviews changes or modifications to
patterns, colours, textures and finishing details in 2D.
An advanced programme that allows us to digitise the
design and prototyping process, resulting in totally
realistic digital pieces.
Core curriculum
1. Development of three volume projects in which the
aim is to explore the various possibilities offered by
the Clo 3D programme.
2. Generate virtual designs of the garments chosen in
the subject “Projects”.
3. Making totally realistic garments with all kinds of
details.
Bibliography
https://www.clo3d.com
https://www.mixamo.com
39
→ Pattern making and dressmaking
Itinerary: Fashion design
ECTS Credits: 4
Description
Study of the behavior, virtues, and limitations
of materials so that they can be used correctly.
Manufacturing processes of different materials and
possible applications in different products.
In-depth study of the technical processes for
the development of garments according to the
difficulties presented in each case, creating a greater
obstacle in each practice, which forces the student
to experiment, using the techniques learned and
achieving progress in learning.
Core curriculum
1. Lingerie.
2. Lingerie pieces.
3. Men’s collection garments.
Bibliography
Nakamichi Tomoko (2007). Pattern Magic. Volumen 1 y
2. Colección GG Moda. Editorial Gustavo Gili, Barcelona.
www.style.com
www.trendland.net
www.brandchannel.com
www.tendencias.tv
www.flylosophy.com
www.ashadedviewonfashion.com
→ History of fabric and costume
Itinerary: Fashion design
ECTS Credits: 3
Description
History of fashion from antiquity to the creation of
Haute Couture in the 19th century. Aesthetic, sociolo-
gical, cultural, and anthropological aspects. The phe-
nomenon of covering oneself’ (clothing), understood
as a reflection of social, technical, political, economic
and cultural changes will be the guide or “symptom”
through which we will get to know a certain historical
time, trying to deduce ethics from aesthetics. The
main idea is not to forget that fashion is a phenome-
non parallel to life and that its success depends on
the ability of understanding changes and synchronize
a living phenomenon.
Core curriculum
1. Origin and concept.
2. From antiquity to the 14th Century.
3. From the 15th to the 19th Century.
4. The Century of the bourgeoisie.
- The French Revolution. A new aesthetic for a new
world. The construction of the Empire style (1804-
1815).
- The Restoration (1815-1820).
Bourgeois aesthetics. The Romantic period (1820-
1840).
- The return to the past. The new Rococo and the
Victorian era (1840-1870).
- The century of the corset. The most complicated
underwear in history.
- The great phenomenon of mechanization and
industrialization.
- Birth of Haute Couture as a privilege of the diligent
social class (bourgeoisie).
- End of the century. The Belle Epoque. Aesthetic
costume. Exoticism.
Bibliography
François Boucher. Histoire du costume en occident de
l´antiquité a nos jours. Edit. Flammarion. Paris, 1965.
L. Kybalová, O. Herbenová, Milena Lamarová.
Encyclopédie illustrée du costume et de la mode. Edit.
Gründ. París, 1970.
James Laver. Breve historia del traje y la moda. Edit.
Cátedra. Madrid, 1988.
Yvonne Deslandres. El traje imagen del hombre.
Edit. Tusquets. Barcelona, 1985.
Michel Thomas, Christine Mainguy, Sophie Pommier.
L´ Art textile. Edit. Skira S.A. Ginebra, 1985
Madeleine Ginsburg. La historia de los textiles. Edit.
Libsa. Madrid, 1993.
Maguelonne Toussaint-Samat. Historia técnica y moral
del vestido. vol. 2. Las telas. Edit. Alianza Editorial.
Madrid, 1994.
Gilles Lipovetsky. El imperio de lo efímero. Edit.
Anagrama. Barcelona, 1990.
Nicola Squicciarino. El vestido habla. Edit. Catedra.
Madrid, 1990.
François-Mrie Grau. Histoire du Costume. Col. Que
sais-je? Edit. Presses Universitaires de France. Paris,
1999.
Georges H. Darwin. L´evolution dans le vêtement. Edit.
Institut Français de la mode-Regard. Paris, 2002.
→ Spinning
Itinerary: Fashion design
ECTS Credits: 3
Description
The course aims to offer an overview of the textile
process, starting from different types of fibers already
known, to the final production of woolen fabrics, pas-
sing through the spinning processes, and preparation
for weaving. Special attention is paid to the knowledge
of the main fabrics and their analysis necessary to
complete a basic technical file.
Core curriculum
1. Reminder: Distinguish flat and knitted fabrics.
Distinguishing printed, embroidered, and jacquard
fabrics.
2. Spinning.
- The preparation process for spinning.
- Spinning process.
- Conventional spinning (rings).
- Open-end spinning.
- Vòrtex Spinning (air-jet).
- Continuous Spinning Process.
- Extrusion/spinning.
- Textured and elastomer-coated yarns.
- Special yarns, fancy yarns, elastomer yarns
- Multi-ply yarns (twisted).
- Yarn properties and yarn quality (evenness,
strength, hairiness, contaminations ...).
- Numbering / Title.
3. Flat fabrics.
- Technology, weaving formation. Weaving machines
loom parts, and weft insertion systems.
- Openwork formation. Plain weave and jacquard
machines.
- Preparation for weaving: warp and sizing
- Basic bonding (sample analysis)
- Different types of fabrics: materials, names, uses,
and identification (analysis of physical samples).
4. Industrial printing techniques.
- Fabric printing techniques: Lyonnaise, rotary, digital
printing, and sublimation.
- Discontinuous printing techniques, cut parts or
ready-made pieces: screen systems, transfer,
sublimation...
5. Fabric dyeing and finishing.
- Scouring, bleaching, and dyeing of fabrics.
Dyes and the most suitable types of machines.
Implications in production times, costs, and
sustainability.
- Types of most basic finishes, chemical and
mechanical.
6. Fabrics Book: To be made by each student
individually but with the participation of the students
in the research of the proposed fabrics.
40
→ Textile Design Projects
Itinerary: Fashion design
ECTS Credits: 4
Description
The course deals with denim garment design in the
second term, and in the first term with the design of
leather pieces, tailoring, or sportswear. Each of these
specialties follows specific patterns and types of
finishes or specific technology. In the first term, the
student will have to choose whether to do tailoring,
leather or sportswear projects.
Core curriculum
1st term: Tailoring
1. Tailoring has a typology of finishes and specific
characteristics that will be worked with the design of
the garment.
2. Tailoring garments for any gender.
3. Project.
3.1. Creating a concept.
- Market research.
- Target public study.
- Research possible innovations.
3.2. Design and development of the garments of the
collection.
- Choice of materials.
- Study of silhouettes.
- Patterns.
- Making up.
- Prints.
3.3. Brand development.
- Graphic environment.
- Photography.
- Communication.
1st term: Sportswear.
1. Sportswear: design of collections for the sports
environment.
2. Functionality based on physical activity.
3. Branding associated with this type of product.
4. Characteristics and conditioning factors of sport
with the use of specific materials, shapes and finishes.
1st term: Leather
1. Theoretical phase.
As a starting point, the subject tries to make known
in the most real, physical, and palpable way, “the
skin”, the main material, in all the projects we
will work on. We will study its structure and the
different animal origins that exist. We will analyze
the qualities and characteristics and we will see
the ornamental processes. Types of applicable
fertilizer, highlighting which ones are suitable from
an ecological and sustainability point of view. We will
learn to differentiate the main leather finishes. We
will establish a comparison of the quality of leather
with synthetic substitutes, assessing their better
sustainability compared to petroleum derivatives. We
will analyze its unit of measurement. We will teach
what is necessary to know how to cut it. Dimensional
parameters will be established according to the type
of animal. And we will see some of the finishes of the
material.
2. Design phase.
- Dimension / Partition.
- Geometric/anatomical structures.
- Reticular structures.
- Strip structures.
2nd term: Denim
This course deals with the textile sub-sector of
denim. A brief review will be made of the great
history of denim, and an approach to its technical
specifications, nomenclature, technology, finishes,
and processes.
Bibliography
Richard Sorger, Jenny Udale. Principios básicos del
diseño de moda. 2009. Ed Gustavo Gili, S.L. Colección
GGmoda. Barcelona.
Lafuente Maite, Navarro Juanjo. Dibujo plano-
Ilustración de moda. Maomao publications, Barcelona,
2005.
Ben Redwood-Filemon Schöffer—Brian Garret. The
3D Printing Handbook: Technologies, design and
applications. Editorial 3d Hubs B.V. 2017, Amsterdam.
ALISON GWILT. Moda sostenible. Manuales de diseño
de moda. Editorial Gustavo Gili.
ELENA SALCEDO. Moda ética para un futuro sostenible.
Editorial Gustavo Gili.
CHARLES EISENSTEIN. El Yoga del Comer. Editorial
Acanto.
MARIA TERESA LLADÓ I RIBA i EVA PASCUAL I MIRÓ. El
Cuero. Editorial Parramón.
OTIS INGRAMS. Artesanía en Cuero. Editorial BLUME.
→ Dyeing and Finishing Textiles
Itinerary: Fashion design
ECTS Credits: 4
Description
Acquire knowledge of different dyeing and finishing
techniques, both ancient and modern. Create prints
through a concept. Adapting to new print trends.
Create techical data sheets for prints. Test all different
techniques to use in the projects.
Core curriculum
1. Dyeing (natural and synthetic).
2. Reserve (Tie-dye / shibori).
3. Batik.
4. Heat setting.
5. Fading and discolouration.
6. Silk printing.
7. Stamp.
8. Vinyl.
9. Sublimation.
41
10.3.2 Third academic year.
Audiovisual design subjects
→ Digital Image Treatment
Itinerary: Audiovisual design / Graphic design
ECTS Credits: 3
Description
Introduction to Cinema4D animation software. It will
start by teaching modeling from scratch with classical
techniques, from cyclic cuts to bevelling polygons,
surface subdivisions and volume, progressing to
introducing types of lights and materials to create
basic animations, and generate a final render.
Core curriculum
1. Working Environment and Introduction to Cinema4D.
2. Basic modelling.
3. Modelling through lines.
4. Polygonal Modelling.
5. Polygonal Modelling II.
6. Deformers and Volume Modelling.
7. Render, shading, materials and textures.
8. Lighting and Cameras.
9. HDRI lighting and integration.
10. Introduction to Animation.
11. Animation Exercise I.
12. Animation Exercise II
13. Mograph I.
14. Mograph II.
15. Dynamics.
16. Interconnectivity.
Bibliography
McQuilkin, K., & Powers, A. (2012). Cinema 4D: the
Artist’s Project Sourcebook. Routledge.
Sondermann, H. (2008). Light shadow space:
Architectural rendering with cinema 4D. Springer.
→ Digital Sound Treatment I
Itinerary: Audiovisual design
ECTS Credits: 3
Description
Using digital programming systems (Max msp and
Pure Data), this course focuses on the sound design
concept focusing on the energy and information flows
of the different systems. The aim is to understand
and handle the basic knowledge in the treatment of
acoustic and data signals with the idea of designing
and producing an object that is the idea of designing
and producing an interactive sound object or
installation.
Core curriculum
1. From analog to digital. The acoustic signal and
the electromagnetic signal. Bases of electrical and
acoustic signal flows.
2. Typologies and standards of audio files and signal
streams. File preparation and specific codecs in the
different broadcast media. “Broadcast and exhibition
systems.
3. Processing of the signal in its basic parameters.
Analysis of signal flows, programming in Max msp and
Pure Data.
4. Audio and control signals. Development of the first
interactive interface programmed in Max msp.
5. Interconnection of systems I. Interchange files and
sound file standards.
6. Interconnection of systems II. Communication
protocols: MIDI, OSC and DMX.
7. Interactive devices and systems. Transducers and
translators. Data flow and interactivity.
8. Usability and interactivity of sound interfaces. Data
and behavior.
9. Multifocal audio systems and aural perception.
10. Staging and performance. Technology as an
extension of the body and the human perceptual
system.
Bibliography
Alten, Stanley R. El sonido en los medios
audiovisuales-2ª edición (original: Audio in Media-8th
edition), Andoain, Escuela de Cine y Vídeo, 2008.
Chapter 04.
Chion, Michel. La audiovisión. Introducción a un
análisis conjunto de la imagen y el sonido English
Castellano Barcelona, Paidós, 1993.
Davis Gary, Jones Ralph, Sound Reinforcement
Handbook, Hall Leonard Pub.Corp., Milwaukee, 1987.
Middleton, Paul. Gurevitz, Steven. Música digital.
técnicas y proyectos. Madrid, Anaya Multimedia, 2008.
Wyatt, Hilary & Amyes, Tim. Audio Post Production for
Television and Film-An introduction to technology and
tecnhiques. Elsevier, Burlington, 2005.
→ Graphic Design for TV
Itinerary: Audiovisual design
ECTS Credits: 3
Description
The subject Graphic Design for TV will give students
an introduction to After Effects software, providing
the view of the audiovisual aids closer to motion
graphics in its television products use. The student
will learn the capture, recording, processing, storage
and transmission technologies as well as creating
multimedia digital graphic animation.
Core curriculum
1. Introduction to After Effects.
2. Compositions.
3. Animation basic concepts.
4. Animated Text in After Effects.
5. Introduction to 3D in After Effects.
6. Animation of Shape Layers.
7. 12 basic principles of animation applied to After
Effects.
8. Image Tracking & Colour Key.
9. Effect creation and application. Glitch.
10. After Effects 3D Camera Tracker.
11. Integration of 3D software and After Effects.
12. Rigging of a 2D character and approach to lipsync.
13. Color correction and color grading.
14. Final project.
Bibliography
Blair, P. (2020). Cartoon Animation with Preston Blair,
Revised Edition!: Learn Techniques for Drawing and
Animating Cartoon Characters. Walter Foster.
Richard, W. (2002). The Animator’s Survival Kit.
42
→ Narrative, Scripts and Audiovisual
Models Analysis
Itinerary: Audiovisual design
ECTS Credits: 6
Description
In this subject, the student will be in contact with
the different types of audiovisual narrative through
the analysis of the structure of audiovisual discourse,
internalizing the necessary tools to produce narratives
for the mass media.
Core curriculum
1. The factographic movement in the Soviet avant-
garde.
2. R. Flaherty’s exploratory documentary.
3. Documentary and propaganda in the pre-war
period.
4. The British pre-war documentary.
5. Visual anthropology and the cinema: French cinéma
vérité and American direct cinema.
6. Cinema and ideology: political cinema in the 1960s.
7. The film diaries of Johnas Mekas, Stan Brakhage,
and George Kuchar.
8. The sublime and the banal in the work of W. Herzog.
9. The subject in contemporary documentary.
10. The Documentary Beyond Genre: The Work of
Harun Farocki.
Bibliography
Adorno, T. W., & Nicholsen, S. W. (1991). The Curious
Realist: On Siegfried Kracauer. New German
Critique(54), 159-177.
Barnouw, E. (1993). Documentary: A History of the
Non-fiction Film. Oxford: Oxford University Press.
Baudry, J.-L. (1970). Cinéma: Effets idéologiques
produits par l’appareil de base. Cinéthique(7-8), 1-8.
Baudry, J.-L., & Williams, A. (1974-1975). Ideological
Effects of the Basic Cinematographic Apparatus. Film
Quarterly, 28(2), 39-47.
Comolli, J.-L., & Narboni, J. (1969). Cinéma/idéologie/
critique. Cahiers du Cinéma(216), 11-15.
Elsaesser, T. (2004). Harun Farocki: Working on the
Sight-Lines. Amsterdam: Amsterdam University Press.
Farocki, H. (2003). Crítica de la mirada: Textos de
Harun Farocki (I. Stache, Trans.). Buenos Aires:
Editorial Altamira.
Foster, H. (2004, November). The Cinema of Harun
Farocki. Artforum International, 156-161.
Issari, M. A. (1971). Cinéma Vérité: Michigan State
University Press.
James, D. E., Arthur, P., Kuchar, G., Pruitt, J., Gunning, T.,
Keller, M., Ruoff, J. K. (1992). To Free the Cinema: Jonas
Mekas & The New York Underground (D. E. James Ed.).
Princeton: Princeton University Press.
Kolchevska, N. (1987). From Agitation to Factography:
The Plays of Sergej Tretyakov. The Slavic and East
European Journal, 31(3), 388-403.
Kracauer, S. (1947). From Caligari to Hittler: A
Psychological History of the German Film. Princeton:
Princeton University Press.
Kracauer, S. (1985 [1947]). De Caligari a Hitler: Una
historia psicológica del cine alemán (H. Grossi, Trans.).
Barcelona: Paidós.
Kracauer, S. (1996). Teoría del cine: La redención de la
realidad física (J. Hornero, Trans.). Barcelona: Paidos.
Linares, A. (1976). El cine militante. Madrid: Castellote
Editor.
MacDougall, D. (1995). Boyond Observational Cinema.
In P. Hockings (Ed.), Principles of Visual Anthropology
(2 ed., pp. 115-133). Berlin: Mouton de Gruyter.
Mamber, S. (1974). Cinema Verite in America: Studies in
Uncontrolled Documentary. Cambridge: The MIT Press.
Marcus, G. E. (2004). O intercâmbio entre arte e
antropologia: como a pesquisa de campo em artes
cênicas pode informar a reinvenção da pesquisa de
campo em antropologia. Revista de Antropologia,
47(1), 133-158.
Mekas, J., & MacDonald, S. (1984). Interview with
Jonas Mekas. October(29), 83-116.
Mestman, M. (1999). La exhibición del cine militante:
Teoría y práctica en el grupo Cine Liberación. Paper
presented at the VIII Congreso Internacional de la
Asociación Española de Historiadores del Cine (AEHC),
Orense.
Nichols, B. (1983). The Voice of Documentary. Film
Quarterly, 36(3), 17-29.
Nichols, B. (1994). Blurred Boundaries: Questions
of Meaning in Contemporary Culture. Bloomington:
Indiana University Press.
Nichols, B. (1997). La representación de la realidad:
Cuestiones y conceptos sobre el documental.
Barcelona: Paidós.
Renov, M. (1993a). Introduction: The Truth About
Non-Fiction. In M. Renov (Ed.), Toward a Poetics of
Documentary (pp. 1-11). New York: Routledge.
Renov, M. (1993b). Toward a Poetics of Documentary.
In M. Renov (Ed.), Theorizing Documentary (pp. 12-36).
New York: Routledge.
Renov, M. (2004). The Subject of Documentary.
Minneapolis: University of Minnesota Press.
Río, V. D. (2010). Factografía: Vanguardia &
Comunicación de masas. Madrid: Abada Editores.
Rouch, J. (1995). The Camera and Man. In P. Hockings
(Ed.), Principles of Visual Anthropology (2 ed., pp. 79-
89). Berlin: Mouton de Gruyter.
Ryan, M. (1979). Militant Documentary: Mai-68 Par Lui-
Même. Cine Tracts, 2( 3-4), 1-20.
Sitney, A. P. (2008a). Jonas Mekas and the Diary
Film Eyes Upside Down: Visionary Filmmakers and
the heritage of Emerson (pp. 83-97). Oxford: Oxford
University Press.
Sitney, A. P. (2008b). Stan Brakhage’s Autobiography
as a cinematic sequence Eyes Upside Down: Visionary
Filmmakers and the heritage of Emerson (pp. 70-82).
Oxford: Oxford University Press.
Tretiakov, S. (2006a). The Biography of the Object.
October(118), 57-62.
Tretiakov, S. (2006b). The Biography of the Object.
October, 118, 57-62.
Tretiakov, S. (2006c). The Fact and the Photograph.
October(118), 132-152.
Tretiakov, S. (2006d). From the Photo-Series to
Extended Photo-Observation. October(118), 71-77.
Tretiakov, S. (2006e). Our Cinema. October(118), 27-44.
Tretiakov, S. (2006f). The Theater of Attractions.
October(118), 19-26.
Tretiakov, S. (2006g). The Writer and the Socialist
Village. October(118), 63-70.
Tretiakov, S. (2006 [1923]). Art in the Revolution and
the Revolution in Art (Aesthetic Consumption and
Production). October(118), 12-18.
Tretiakov, S., & Romberg, K. (2006). The Theater of
Attractions. October, 118, 19-26.
Tretiakov, S., Shklovski, V., Shub, E., & Brik, O. (1971-1972
[1927]). Lef and Film: Notes of discussion (extracts)
(New Lef N. 11-12, 1927, pp. 50-70). Screen, 12(4), 74-
80.
Tretiakov, S., Shklovski, V., Shub, E., & Brik, O.
(1979 [1927]). Symposium on Soviet Documentary
(E. Henderson, Trans.). In L. Jacobs (Ed.), The
Documentary Tradition (2 ed., pp. 29-36). New York:
W.W.Norton & Company.
Wilson, D. (2000). Cahiers du Cináma - 1973-1978:
History, Ideology, Cultural Struggle (D. Wilson Ed. Vol.
4). London: Routledge.
Winston, B. (2008). Claiming the Real II -
Documentary: Grierson and Beyond (2 ed.). London:
Palgrave Macmillan.
Zavattini, C. (2004 [1953]). Some Ideas on the Cinema
(P. L. Lanza, Trans.). In P. Simpson, A. Utterson, & K. J.
Shepherdson (Eds.), Film Theory: Critical Concepts in
Media and Cultural Studies (Vol. IV, pp. 40-50).
Londres:
43
→ Critical Theory and New Media
Itinerary: Audiovisual design
ECTS Credits: 4
Description
Study of the evolution of the audiovisual narrative
through the analysis of the main schools and
movements in the field of cinema in the 20th and 21st
century in the West.
Core curriculum
1. Introduction to the “language” of cinema.
- Disquisitions on the cinematographic code.
- The origins of montage.
- Cinema of prose vs. cinema of poetry.
2. The main schools and movements in the world of
cinema during the 20th century in the West.
- Early trends in American and European cinema.
- The Soviet avant-garde and audiovisual language.
- German expressionism.
- The surrealist movement in European cinema.
- Italian neorealism and the poetics of poverty.
- The Nouvelle Vague.
- Post-neorealism and militant cinema in Italy.
- The French militant cinema of May 68.
- The new German cinema of Oberhausen.
- Authors who created stylistic currents during the
20th century.
3. Cinema and digital.
- The concept of post-cinema.
- The concept of “expanded cinema”.
- The language of new media (Manovich, 2002).
Bibliography
Barthes, R. (1986). Lo obvio y lo obtuso: Imágenes,
gestos, voces (C. F. Medrano, Trans.). Barcelona:
Paidos.
Bazin, A. (2004). ¿Qué es el cine? (J. L. L. Muñoz,
Trans.). Madrid: Ediciones Rialp.
Buñuel, L. (1983). Luis Buñuel: Mi último suspiro (A. M.
d. l. Fuente, Trans.). Barcelona: Plaza Janes.
Eco, U. (1971). Sobre las articulaciones del código
cinematográfico (A. M. Torres, Trans.). In M. P.
Estremera (Ed.), Problemas del nuevo cine (pp. 78-
108). Madrid: Alianza Editorial.
Eisenstein, S. (2010). Sergei Eisenstein: Selected Works
(Writings, 1922-1934) (R. Taylor, Trans. R. Taylor Ed. Vol.
1). London: I. B. TAURIS.
Elsaesser, T. (2004). Harun Farocki: Working on the
Sight Lines. Amsterdam: Amsterdam University Press.
Flusser, V. (2001). Una filosofía de la fotografía (T.
Schilling, Trans.). Madrid: Síntesis.
Machado, A. (2002). Pré-cinemas & pós-Cinemas. Sao
Paulo: Papirus editora.
Mitry, J. (2002a). Estética y psicología del cine 1:
Las estructuras (R. P. Mores, Trans.). Madrid: Siglo
Veintiuno de España Editores.
Pasolini, P. P. (1971). Discurso sobre el plano-secuencia
o el cine como semiología de la realidad (A. M. Torres,
Trans.). In M. P. Estremera (Ed.), Problemas del nuevo
cine (pp. 31-76). Madrid: Alianza Editorial.
Shklovski, V. (1994 [1927]). Poetry and Prose in Cinema
(R. Taylor, Trans.). In R. Taylor (Ed.), The Film Factory:
Russian and Soviet Cinema in Documents 1896-1939
(pp. 176-178). Londres: Routledge.
Youngblood, G. (1970). Expanded Cinema. E.P. Dutton;
1st edition.
→ Audiovisual Creation
Itinerary: Audiovisual design
ECTS Credits: 6
Description
Creation of audiovisual projects with new formats and
new windows for leisure and entertainment in mind.
The course also focuses on the figure of the creator
and the consumer in the era of the prosumer and
democratised access to audiovisual content.
44
10.3.3 Third academic year.
Graphic design subjects
→ Calligraphy
Itinerary: Graphic design
ECTS Credits: 3
Description
The student will learn the art of writing with artistic
and correctly formed handwriting, according to
different styles. They will learn about the history of
writing and its ductility evolutions framed by technical
skills, materials, technological tools, and social
context. In some lessons, we will experiment with
materials, tools (made by the students themselves),
and inks, as well as some research on interactivity
in calligraphy, bringing in knowledge of augmented
reality.
Core curriculum
1. Carolingian script.
2. Uncial script.
3. Italic script.
4. Neuland script.
Bibliography
Mediavilla, Claude. Caligrafía. València: Campgràfic,
2005.
Johnston, Edward. Writing & Illuminating & Lettering.
New York: Dover Publications, 1995
Mediavilla, Claude. L’ABCdaire de la Calligraphie.
Flammarion: Paris, 2000
→ Video
Itinerary: Graphic design
ECTS Credits: 4
Description
The subject will give students an introduction to After
Effects software, providing a vision of audiovisuals
that is closer to motion graphics in its application
to television products. Students will learn the
technologies of capturing, recording, processing,
storing, transmitting, and creating multimedia digital
graphic animation.
Core curriculum
1. Introduction to After Effects.
2. Compositions.
3. Animation basic concepts.
4. Animated Text in After Effects.
5. Introduction to 3D in After Effects.
6. Animation of Shape Layers.
7. 12 basic principles of animation applied to After
Effects.
8. Image Tracking & Colour Key.
9. Effect creation and application. Glitch.
10. After Effects 3D Camera Tracker.
11. Integration of 3D software and After Effects.
12. Rigging of a 2D character and approach to lipsync.
13. Color correction and color grading.
14. Final project.
Bibliography
Blair, P. (2020). Cartoon Animation with Preston Blair,
Revised Edition!: Learn Techniques for Drawing and
Animating Cartoon Characters. Walter Foster.
Richard, W. (2002). The Animator’s Survival Kit.
→ Digital Image Treatment
Itinerary: Audiovisual design / Graphic design
ECTS Credits: 3
Description
Introduction to Cinema4D animation software. It will
start by teaching modeling from scratch with classical
techniques, from cyclic cuts to bevelling polygons,
surface subdivisions and volume, progressing to
introducing types of lights and materials to create
basic animations, and generate a final render.
Core curriculum
1. Working Environment and Introduction to Cinema4D.
2. Basic modelling.
3. Modelling through lines.
4. Polygonal Modelling.
5. Polygonal Modelling II.
6. Deformers and Volume Modelling.
7. Render, shading, materials and textures.
8. Lighting and Cameras.
9. HDRI lighting and integration.
10. Introduction to Animation.
11. Animation Exercise I.
12. Animation Exercise II
13. Mograph I.
14. Mograph II.
15. Dynamics.
16. Interconnectivity.
Bibliography
McQuilkin, K., & Powers, A. (2012). Cinema 4D: the
Artist’s Project Sourcebook. Routledge.
Sondermann, H. (2008). Light shadow space:
Architectural rendering with cinema 4D. Springer.
45
→ Typography I
Itinerary: Graphic design
ECTS Credits: 4
Description
This course bears on language, includes workshop
exercises, and it’s complemented by theory. It
enables students to formally interpret any kind of text,
using various typographic and paging tools to present
the information to diverse users (ranging from authors
to readers), and in the different formats that may be
required.
Core curriculum
1. Text composition: legibility, settings for partitioning
and justification, type alignment, type color and
texture, line spacing, column width, orthotypography.
2. Page structure: proportions, Villard diagrams,
guidelines, column layout, the double-page, formats.
Grids: creation and application.
3. Hierarchy: typographic resources for hierarchizing
information, table of contents, types of hierarchies
(basic, inverted, dimensional, unexpected, web, and
dynamic).
4. Editorial: analysis and development of an editorial
project with print and digital application. Taking into
account all the contents of the subject and the
characteristics that a product adapted to the current
reality must fulfill (Smart Design).
Bibliography
BLACKWELL, L. (1998). La tipografía del siglo XX.
Barcelona: Editorial Gustavo Gili.
DESIGN MUSEUM (2016). Cómo diseñar un tipo.
Barcelona: Editorial Gustavo Gili.
ELAM, K. (2006). Sistemas reticulares. Barcelona:
Editorial Gustavo Gili.
JARDÍ, E. (2007). Veintidós consejos sobre tipografía.
Barcelona: Editorial Actar.
KANE, J. (2005). Manual de tipografía. Barcelona:
Editorial Gustavo Gili.
LARS MÜLLER (2005). Josef Müller-Brockmann. Pioneer
of Swiss Graphic Design. Baden (Suiza): Editorial Lars
Müller.
LUIDL, P. (2004). Tipografía básica. Valencia: Editorial
Campgràfic.
LLOP, R. (2014). Un sistema gráfico para las cubiertas
de libros. Hacia un lenguaje de parámetros. Barcelona:
Editorial Gustavo Gili.
MARÍN ÁLVAREZ, R. (2013). Ortotipografía para
diseñadores. Barcelona: Editorial Gustavo Gili.
MÜLLER-BROCKMANN, J. (1992). Sistemas de retículas.
Méjico: Editorial Gustavo Gili.
SAMARA, T. (2004). Diseñar con y sin retícula.
Barcelona: Editorial Gustavo Gili.
TSCHICHOLD, J. (2003). La nueva tipografía. Valencia:
Editorial Campgràfic.
ZAPPATERRA, Y. (2008). Diseño editorial. Periódicos y
revistas. Barcelona: Editorial Gustavo Gili.
→ Computing III
Itinerary: Graphic design
ECTS Credits: 4
Description
In this course the student will learn to link the different
digital image processing software such as Photoshop,
Illustrator and Lightroom. They will also learn
advanced techniques of these softwares, to carry out
different exercises that will be done throughout the
course, as well as a project mentored by the teacher
with different delivery phases. The structure of the
course is based on the carrying out of exercises,
tasks and the elaboration of a project that will cover
the whole four-month period. This project introduces
the 3 clearly differentiated phases throughout the
four-month period of the course:
Phase 1: Advanced Illustrator techniques.
Phase 2: The Digital Image: Lightroom.
Phase 3: Advanced Photoshop techniques.
Core curriculum
1. Advanced Illustrator techniques.
- Isometric perspective I.
- Isometric perspective II.
- Brushes.
2. The Digital Image: Lightroom.
- The library.
- The development I.
- The development II.
- Publications.
3. Advanced Photoshop techniques.
- Matte Painting and Advanced Photocomposition.
- Matte Painting and Advanced Photocomposition II.
- Matte Painting and Advanced Photocomposition III.
- Matte Painting and Advanced Photocomposition IV.
Bibliography
Igual, J. (2021). Lightroom Classic. Editorial Universitat
Politècnica de València.
Mattingly, D. B. (2011). The digital matte painting
handbook. John Wiley & Sons.
→ Illustration
Itinerary: Graphic design
ECTS Credits: 4
Description
Illustration as a graphic communication tool. Style,
form, composition, and concept as communicative
resources. Niches and the illustrator’s target public.
Illustration for the press, publishing, and advertising.
Text comprehension and conceptual analysis. The use
of the rhetorical figure and the visual metaphor as a
tool for visual provocation.
Technical processes and tools of representation:
- Drawing (Pencil, pen, felt-tip pen).
- Painting (watercolor, gouache, acrylics, etc.).
- Collage.
- Digital (PS, Illustrator, Procreate...).
- Engraving.
Core curriculum
1. Students will create a digital mood board where
they will add all the images of their research process
and will have to defend the chosen options.
2. Students will choose one press article, they will
have to analyze it and make the graphic translation
with free technique.
3. Students will choose one advertising briefing,
analyze it and make a free-technique graphic
translation using a figure of speech.
4. The students will make a series of portraits in their
sketchbooks using the drawing technique. In the
same module, they will make a series of still-lifes using
painting as a vehicular technique and a series of free-
technique collages.
5. The students will work with the PS as a digital
drawing tool and will upload the results to their mood
board.
6. Students will vectorize an illustration and prepare it
to be engraved and printed in one ink.
7. Finally, they will produce an end-of-subject project.
Bibliography
Kleon, A. (2012). Steal Like an Artist: 10 Things Nobody
Told You about Being Creative. Workman Publishing.
Llop, R. (2015). Un sistema gráfico para las cubiertas
de libros. Gustavo Gili.
Jardí, E. (2012). Pensar con imágenes. Editorial
Gustavo Gili.
Costa, J. (2008). La forma de las ideas/ The Form
of Ideas: Como Piensa La Mente, Estrategias De La
Imaginación Creativa/ How the Mind Thinks, Strategies
and Creative Imagination. Universitat Jaume I. Servei
de Comunicacio i Publicacions.
Heller, S., & Anderson, G. (2018). El libro de ideas para
la ilustración: Inspiración de la mano de 50 maestros
(1.a ed.). Blume.
46
→ Models and Originals
Itinerary: Graphic design
ECTS Credits: 4
Description
Creation of new editorial formats. Paper techniques
and possibilities. Folding. Stitching. Intaglio. Creation of
portfolios for self-promotion. Creation of a mock-up
for an illustrated microstory. Analysis of a briefing and
resolutive / creative actions. Final project.
Core curriculum
1. Students will create a digital mood board where
they will add all the images of their research process
and will have to defend the chosen options.
2. Students will work on the research of new formats
and will apply the creative methodologies learned in
class to design the proposed works.
3. They will work on identifying the needs / target
audience of a briefing and will design accordingly.
4. Students will create a physical portfolio, applying
the new formats learned to be used in future self-
promotion campaigns.
5. Students will design a pop-up illustrated micro-
story.
Bibliography
Smith EK. How to make books: Fold, cut & stitch your
way to a one-of-A-kind book. Potter Craft; 2012.
Hedi K. Art of the fold: How to make innovative books
and paper structure. Londres, Inglaterra:
Laurence King Publishing; 2018.
Ambrose G, Harris P. Basics design, format: N. The
shape and size of a book etc. Lausana, Suiza: AVA
Publishing; 2004.
Avella N. Diseñar con Papel. Editorial Gustavo Gili; 2004.
Kleon A. Show your work!: 10 Ways to share your
creativity and get discovered. Nueva York, NY,
Estados Unidos de América: Workman Publishing;
2014.
Mason D. Materiales y procesos de impresión.
Barcelona: Gustavo Gili, Cop; 2008.
→ Book and Project presentation
Itinerary: Graphic design / Product design /
Interior design / Design management
ECTS Credits: 4
Description
The course aims to guide the definition of the
student’s professional profile and facilitate the
creation of their personal portfolio, understood as
a project that shows their formative development
and serves as an instrument that will allow them to
present themselves professionally. We will identify
and analyze different types of portfolio presentations
in order to recognize the characteristics generally
associated with them and apply them to the
development of our own portfolio. Students will design
their personal portfolio using digital tools such as
Adobe Photoshop, Adobe Illustrator, Adobe Indesign,
and specific platforms for publishing online content
such as Wordpress, Wix, or Squarespace.
Core curriculum
1. Analysis of references.
2. Selection of works.
3. Editing and layout tools.
4. Specific platforms for publishing online content
such as Wordpress, Wix, Squarespace.
5. Creation and publication of personal portfolio.
Bibliography
Shaoqiang Wang (2018). Portfolio Design & Self-
Promotion. My Graphic DNA.Promopress.
Lee Irina. (2021). Creating a Successful Graphic Design
Portfolio. New York City:Bloomsbury Visual Arts.
47
10.3.4 Third academic year.
Product design subjects
→ IT extension: industrial
Itinerary: Product design
ECTS Credits: 4
Description
Acquire the basic knowledge of Rhinoceros software
to be able to model low / medium complexity product
projects and subsequently render with the native
Rhinoceros render engine.
Core curriculum
1. Rhinoceros environment and interface.
2. Creation of basic and intermediate 2D-3D geometry.
3. Editing 2D-3D geometry.
4. Lighting for rendering.
5. Creation / modification of Materials.
6. Basic mapping.
7. Fundamental rendering settings.
Bibliography
https://www.rhino3d.com/es/
https://discourse.mcneel.com/
https://www.food4rhino.com/es
https://www.foro3d.com/f143/
https://discourse.mcneel.com/
https://www.youtube.com/c/MrRhino3D/videos
https://www.facebook.com/McNeelRhinoceros/
→ Ergonomics
Itinerary: Product design / Design management
ECTS Credits: 4
Description
It deals with the interrelation and the use of the er-
gonomics knowledge and techniques of the product
design project. It delimits the respective ontological
domains, presents the obtaining and instrumenta-
tion of the ergonomics’ data and defines an operati-
ve methodology to be applied in design projects.
Core curriculum
1. Anthropometry.
2. Person block.
- Skeletal and muscular system / posture.
- Cardiovascular and metabolic system / physical
effort and biomechanics.
- Neurological system and sensory organs / mental
effort and cognition.
3. Environment block.
- Air, breathing, air conditioning.
- Light, vision, illumination.
- Sound, hearing, acoustics.
4. Person / Machine System.
5. Ergonomics of hand and tools.
6. Usability.
Bibliography
BUSTAMANTE, A. (2008). Ergonomía para diseñadores.
Madrid: Esditorial Mapfre.
CARMONA, A. (2001). Datos antropométricos de la
población laboral espanyola. Madrid: Institut Nacional
de Seguretat i Higiene en el Treball.
JORDAN, P. W. (1998). An introduction to usability.
Londres: Taylor & Francis.
LAPLACE, J. (1985). La psicologia ergonómica.
Barcelona: Oikos-Tau.
NOGAREDA, S. (coor.) (5a ed. 2008). Ergonomía.
Madrid: Institut Nacional de Seguretat i Higiene en el
Treball. Ministeri de Treball i Immigració.
NORMAN, D. (1990). La Psicología de los objetos
cotidianos. Madrid: Nerea.
PANERO J., ZELNIK M. Las dimensiones humanas en
los espacios interiores. Estándares antropométricos.
Mèxic: Ed. G. Gili.
WOODSON, W. (3a ed. 2016). Human factors and
Ergonomics Design Handbook. USA: McGraw-Hill
Education.
YOUNG, M.; A.STANTON, N. (2a ed. 2014). Guide to
Methodology in Ergonomics. Designing for Human Use.
Nova York: Taylor & Francis.
→ Models and Prototypes
Itinerary: Product design
ECTS Credits: 4
Description
The subject deals with the fabrication of scale models
concept, the types and the functions. Volume scale
models (to work on your own) and static scale models
(to handle a project) will be seen. Studies and volume
resolutions will be done: which is the most appropriate
way to solve a volume, depending on its shape and
the desired outcomes.
Core curriculum
1. The model as a three-dimensional model.
2. Practices with materials and their finishes.
3. Conceptual, study and presentation models.
4. Thermoforms.
5. Turning.
6. Silicone moulds.
7. Project assistance.
Bibliography
Knoll, Wolfgang y Hechinger, Martin. (2005) Maquetas
de Arquitectura, Técnica y construcción. Barcelona.
Ed. Gustavo Gili.
Hallgrimsson, Bjarki (2012). Diseño de producto:
maquetas y prototipos. Ed. Promopress.
Jackson, Paul (2013). Técnicas de Corte y Plegado
para Diseñadores (128 pag.). Editorial Promopress.
Shimizu, Yoshiharu (1991). Models & Prototipes.
Graphic-sha Publishing Co.Ltd.
48
→ Design of Small Household Appliances
Itinerary: Product design
ECTS Credits: 3
Description
A project-based subject aimed at acquiring the basic
knowledge for the design of small household applian-
ces and their supports. The appearance of new
small electrical technologies at the beginning of the
20th century facilitated the entry of small domestic
appliances into first-world societies. From this change,
the small household appliance revolutionized the
way of conceiving the design of personal and family
objects. This type of object also boosted the use of
plastic for the manufacture of self-supporting hou-
sings and chassis in industrial products. The mastery
of its design parameters encompasses knowledge of
all the core principles of design: ergonomics, semio-
tics, mass production, technology, adaptation to the
social context, aesthetics, and above all functionality
and use.
Core curriculum
1. History of the small household appliances and social
context.
2. Ergonomics and anthropometry.
3. Semiotics.
4. Functionality.
5. Use.
6. User.
7. Materials and technology.
8. Production.
Bibliography
Pipes, Alan. Dibujo Para Diseñadores. Editorial Blume
2008, Barcelona.
Steur, Roselien; Eissen, Koos. Sketching: The Basics.
Bliss Publisher, 2011, Amsterdam.
Steur, Roselien; Eissen, Koos. Sketching, drawing
techniques for product designers. Bliss Publisher, 2011,
Amsterdam.
Munari, Bruno. ¿Cómo nacen los objetos? Apuntes
para una metodología proyectual. GGDiseño.
Barcelona 1981.
→ Technique of Use of Materials and
Mechanics
Itinerary: Product design
ECTS Credits: 4
Description
Industrial handling processes. Finishes and surface
treated. Relationship between structure elements.
Mechanisms. Object’s physical properties. Structures.
Object’s parts resistance.
Core curriculum
1. The physical properties of the object.
2. Relationship between parts, physical requirements
between them.
3. Strength assessment of each part of an object.
4. Ergonomics and accessibility.
5. Concepts of water tightness.
6. Bearings and adjustments.
7. Simple mechanisms, in everyday objects.
8. Intuitive movements of use.
9. Reading of functioning through shapes, colors, and
materials.
Bibliography
Cross, Nigel. Engineering Design Methods. John Wiley
& Sons.
Kozhevnikov, S.N. Mecanismos. Gustavo Gili.
Duran, Fernando. Equipos y procesos de utilización.
A.L.Casillas; Máquilas – Cálculos de taller.
Ver: Normativa de grado de protección IP.
→ Bionics
Itinerary: Product design
ECTS Credits: 3
Description
Theoretical and practical subject aimed to acquiring
descriptive and technical knowledge about bionics
and biomimetics applied to product design. The goal
is for students to acquire skills for the development of
products inspired by nature.
Core curriculum
1. 3D Ceramic Printing.
2. Biodegradable materials. Fluid printing.
3. Milling for digital design. Rhinoceros, Grasshopper,
Solidworks Cam.
4. Fibonacci / Parametric softwares.
5. Material design.
6. Biomaterials.
7. Mycelium.
8. Biofabrics.
9. Biotextiles.
Bibliography
Sascha Peters. Material Revolution, Sustainable and
multi purpose materials for design and architecture.
Editorial Birkhäuser 2010, Frankfurt.
Christiane Sauer. New Materials Sourcebook for
Architecture and Design. Editorial Prestel Pub 2010,
Berlin.
Juhani Pallasmaa. Animales Arquitectos. Editorial GG
2020, Barcelona.
I. B. Litinetsky. Iniciación a la Biónica. Editorial Barral
editores 1975, Barcelona.
49
→ Book and project presentation
Itinerary: Graphic design / Product design /
Interior design / Design management
ECTS Credits: 4
Description
The course aims to guide the definition of the
student’s professional profile and facilitate the
creation of their personal portfolio, understood as
a project that shows their formative development
and serves as an instrument that will allow them to
present themselves professionally. We will identify
and analyze different types of portfolio presentations
in order to recognize the characteristics generally
associated with them and apply them to the
development of our own portfolio. Students will design
their personal portfolio using digital tools such as
Adobe Photoshop, Adobe Illustrator, Adobe Indesign,
and specific platforms for publishing online content
such as Wordpress, Wix, or Squarespace.
Core curriculum
1. Analysis of references.
2. Selection of works.
3. Editing and layout tools.
4. Specific platforms for publishing online content
such as Wordpress, Wix, Squarespace.
5. Creation and publication of personal portfolio.
Bibliography
Shaoqiang Wang (2018). Portfolio Design & Self-
Promotion. My Graphic DNA.Promopress.
Lee Irina. (2021). Creating a Successful Graphic Design
Portfolio. New York City:Bloomsbury Visual Arts.
50
10.3.5 Third academic year.
Interior design subjects
→ Design of Outdoor spaces
Itinerary: Interior design
ECTS Credits: 4
Description
Strategies and criteria for outdoor space develo-
pment. Special emphasis will be placed on public
spaces, to learn how to perceive public space as
something more than a transit area, an intermedia-
te zone between 2 destinations; to understand the
relationship(s) and potential that may exist between
public space and users. To detect (alternative) uses
and formalize them, making it possible to make a
given space more dynamic. The suggested projects
cover areas that go in two directions, i.e. from the
user to the space and vice versa, being in any case
one of the two, the starting point of the proposal, to
work on spaces.
Core curriculum
Students will learn to read and interpret an urban and
outdoor space from the parameters of relationship
with the environment, topography and levels,
accessibility, furniture, vegetation, lighting and
acoustics. From the analysis of an existing space, the
student will have to propose an improvement project
based on the strengths and weaknesses of the space,
as well as from the specific programme of new needs
for this place.
Bibliography
Laurie, Michael. Introducción a la arquitectura del
paisaje. Barcelona: Gustavo Gili, 1983.
Jellicoe, Geoffrey; Jellicoe, Susan. El paisaje del
hombre: la conformación del entorno desde la
prehistoria hasta nuestros días. Barcelona: Gustavo
Gili, 1995.
Simon, Jacques; Rouard Marguerite. Espaces de jeux.
Editions D. Vincent 1976 Louis XIV et al. Manera de
mostrar los jardines de Versalles. Ed. Abada.
Bacon, Francis; Walpole, Horace et al. El espíritu del
lugar. Jardín y paisaje en la Inglaterra moderna. Ed.
Abada.
http://landezine.com
→ Models and Prototypes
Itinerary: Interior design
ECTS Credits: 4
Description
This subject gives students the tools to be able to
express ideas through materiality and volume. In this
subject, we learn about the different types of models
used in the world of Interior Design, their functionali-
ties, and their benefits, depending on the level of the
project they are working on.
Core curriculum
We will see and make models that we use to:
1. To come up with ideas or sketch ideas.
2. Explain the project at a very early stage.
3. To explain interior or exterior spaces.
4. Professional models for the last phase of the
project.
Bibliography
Knoll, Wolfgang y Hechinger, Martin. (2005) Maquetas
de Arquitectura, Técnica y construcción. Barcelona.
Ed. Gustavo Gili.
Hallgrimsson, Bjarki (2012). Diseño de producto:
maquetas y prototipos. Ed. Promopress.
Jackson, Paul (2013). Técnicas de Corte y Plegado
para Diseñadores (128 pag.). Editorial Promopress.
Shimizu, Yoshiharu (1991). Models & Prototipes.
Graphic-sha Publishing Co.Ltd.
→ Design and Adaptability
Itinerary: Interior design
ECTS Credits: 3
Description
The course has two guidelines: on the one hand, to
introduce the student to the applicable regulations on
safety and adaptability, and to underline the impor-
tance of universal design to ensure the autonomy of
people; on the other hand, to introduce the student
to the process and execution of the work, including
the development of measurements. The course is
structured around the description and analysis of
all the parts that make up a building, covering all its
variables, from the construction system and physical
behaviour to the types of materials used.
Core curriculum
1. The regulations that guarantee accessibility: Current
regulations for public buildings and habitats.
2. The subject has two guidelines: on the one hand,
to introduce the student to the applicable regulations
regarding safety and adaptability, and to underline the
process of an interior design project: all the phases of
the process of an interior design project are reviewed,
from the commissioning to the end of the work.
3. Measurements: The preparation of measurements
and the calculation of budgets for a project.
4. Adaptability for an active old age: How does
demographic change affect architecture and interior
design and vice versa? What can we do to make life
easier for the elderly and what can we do to prevent
cognitive deterioration?
Bibliography
CTE (Código Técnico de Edificación). Madrid: Ministerio
de Fomento.
Decret d’habitabilitat. Barcelona: Generalitat de
Catalunya.
Feddersen, E., Lüdtke, I. (2009). Living for the elderly.
A design manual. Basel: Birkhäuser Verlag.
Guerrero, J. M. (ed.) (2001). Guía técnica de
accesibilidad en la edificación. Madrid: DGVAU
Ministerio de Fomento.
Montaner, J.M., Muxí, Z., Falagán, D.H. (2011)
Herramientas para habitar el presente. Edición: Máster
Laboratorio de la vivienda del siglo XXI. UPC.
Codi d’accessibilitat. Barcelona: Col.legi d’Arquitectes
de Catalunya.
Boletín Económico de la Construcción BEC.
www.discapnet.es
www.imserso.es
www.itec.cat
51
→ Lighting and Acoustics
Itinerary: Interior design
ECTS Credits: 3
Description
How to project a lightning integrated with the city’s
interior and nightlife architecture; how to provide
a dynamic lighting for the management of a single
space and how to get mutating scenarios imposed
by the new ways of living and working will be learnt.
The acoustic criteria that each room has to fulfill,
depending on the use one wants to give it, will be
established. The measuring will be studied so as the
enclosure fulfills the purpose of its use. Forms, inclina-
tions and materials that will determine the enclosure’s
acoustic will be defined.
Core curriculum
1. Basics of interior architecture.
2. Lighting and acoustic sustainability.
3. Lighting for space management.
4. Integrated lighting and acoustic criteria for the
management of interior spaces.
→ Installations I
Itinerary: Interior design
ECTS Credits: 4
Description
This subject wants to provide the students with the
tools that will let them know what installations will
they need when making a project, how to calculate
and measure them, how to integrate them inside the
enclosure, how to draw into the plans and
how to describe them in the report. In the same
way, the students will be taught how to develop the
ability of deciding the spaces that will be need for
the installations, the relationships between them and
the implications in the interior design comprehensive
project development.
Core curriculum
1. Environmental analysis. Physical, physiological and
psychological concepts of the indoor environment.
2. Comfort conditions and climatic design. Technical,
administrative, control and efficiency requirements.
3. Heating systems. Classification, sizing, components
and energy efficiency.
4. Cooling systems. Classification, sizing, components,
energy efficiency and sustainability.
5. Implementation of air-conditioning systems.
Easements, interactions and graphical representation.
6. Smart and sustainable HVAC design.
Bibliography
Serra Florensa, Rafael; Coch Roura, Helena. 2001.
Arquitectura y energías naturales. Ediciones UPC SL.
Quadri, Nestor. 2004. Nuevos conceptos de diseño
en aire acondicionado. Revista Clima nº. 183.
Departamento de Construcción Arquitectónica.
Escuela de Arquitectura. ULPGC.
Nestor. Sistemas de aire acondicionado. Editorial
Alsina. Buenso Aires. 2001)
Fumadó Alsina, J.L. 1996. Climatización de edificios.
Barcelona. Ediciones Serval
Miranda, Angel Luis; Domènech Morraja, M.Àngels.
2012. ABC del Aire Acondicionado. Editorial Marcombo.
Miranda, Angel Luis. 2016. Técnicas de climatización. 4ª
Ed. Editorial Marcombo SA
Huw Heywood. 2016. 101 reglas básicas para una
arquitectura de bajo consumo energético. GG
ediciones.
Anónimo. Recopilación por Fernandez, Rodolfo y
Carella, Alfredo. 1984. Conservación de energía en
viviendas y edificios. Facultad de Arquitectura y
Urbanismo. Universidad de La Plata, Argentina.
Lozano Reina, Marta. PFG 2015. Passivhaus,
Adaptación al clima mediterráneo. ETSAM.
→ Computing III
Itinerary: Interior design
ECTS Credits: 4
Description
Acquire the basic knowledge of 3dmax/ Vray software
to be able to represent projects of virtual spaces or
objects in a photorealistic way.
Core curriculum
1. 3d max environment and interface.
2. Geometry import.
3. Basic and intermediate geometry.
4. Basic lighting in 3dmax/Vray
5. Physical cameras and fundamental settings.
6. Creation / modification of basic materials and
textures.
7. Basic UW mapping.
8. Rendering in 3DMAX-Vray.
Bibliography
https://3dcollective.es/
https://www.gov3dstudio.com/30-paginas-para-
descargar-modelos-3d-gratis-parte-01/
https://archive3d.net/
https://3dsky.org/
https://evermotion.org/
https://polyhaven.com/hdris
http://www.3dmodelfree.com/
https://www.youtube.com/playlist?list=PLxt9ZAGPLIpe
B8TcHrpzxvEI4Ve3SfZBC
52
→ Book and Project presentation
Itinerary: Graphic design / Product design /
Interior design / Design management
ECTS Credits: 4
Description
The course aims to guide the definition of the
student’s professional profile and facilitate the
creation of their personal portfolio, understood as
a project that shows their formative development
and serves as an instrument that will allow them to
present themselves professionally. We will identify
and analyze different types of portfolio presentations
in order to recognize the characteristics generally
associated with them and apply them to the
development of our own portfolio. Students will design
their personal portfolio using digital tools such as
Adobe Photoshop, Adobe Illustrator, Adobe Indesign,
and specific platforms for publishing online content
such as Wordpress, Wix, or Squarespace.
Core curriculum
1. Analysis of references.
2. Selection of works.
3. Editing and layout tools.
4. Specific platforms for publishing online content
such as Wordpress, Wix, Squarespace.
5. Creation and publication of personal portfolio.
Bibliography
Shaoqiang Wang (2018). Portfolio Design & Self-
Promotion. My Graphic DNA.Promopress.
Lee Irina. (2021). Creating a Successful Graphic Design
Portfolio. New York City:Bloomsbury Visual Arts.
10.3.6 Third academic year.
Multidisciplinary integration subjects
→ Event planning and development and
Protocol
Itinerary: Design management
ECTS Credits: 4
Description
The subject is an approach to the management and
planning of different types of events and all the activi-
ties associated with this activity. In this way, students
can acquire the knowledge for the conception of an
event, which starts from a previously established brie-
fing, and which they have to develop completely with
protocols of action, human resources management
and a communication plan.
Core curriculum
1. Event management and planning.
- What is an event.
- How to manage an event.
- How to plan an event.
- Methodologies for managing and planning an
event.
2. Communication and advertising.
- How an event is communicated and publicised.
- The figure of the Public Relations Officer.
- Protocol for different events.
3. Human Factor.
- Group or team.
- Roles.
- Leadership figures.
- Group dynamics.
→ Visual Communication Techniques
Itinerary: Design management
ECTS Credits: 4
Description
The objective is to come up with a communication
strategy and design the whole visual part of an event
following this strategy.
Core curriculum
1. How to communicate our event to our target
audience and how to make it known through social
networks and specific actions.
2. Decide what type of actions are the ones that best
fit our identity and our brand.
3. Use of social media.
4. Consistent visual design (keep the same type
of design and apply it to different formats: videos,
posters, T-shirts, etc.).
5. Editing with Premiere and After Effects to make a
teaser of the event.
→ Book and Project presentation
Itinerary: Graphic design / Product design /
Interior design / Design management
ECTS Credits: 4
Description
The course aims to guide the definition of the
student’s professional profile and facilitate the
creation of their personal portfolio, understood as
a project that shows their formative development
and serves as an instrument that will allow them to
present themselves professionally. We will identify
and analyze different types of portfolio presentations
in order to recognize the characteristics generally
associated with them and apply them to the
development of our own portfolio. Students will design
their personal portfolio using digital tools such as
Adobe Photoshop, Adobe Illustrator, Adobe Indesign,
and specific platforms for publishing online content
such as Wordpress, Wix, or Squarespace.
Core curriculum
1. Analysis of references.
2. Selection of works.
3. Editing and layout tools.
4. Specific platforms for publishing online content
such as Wordpress, Wix, Squarespace.
5. Creation and publication of personal portfolio.
Bibliography
Shaoqiang Wang (2018). Portfolio Design & Self-
Promotion. My Graphic DNA.Promopress.
Lee Irina. (2021). Creating a Successful Graphic Design
Portfolio. New York City:Bloomsbury Visual Arts.
→ Specific Projects I
Itinerary: Design management
ECTS Credits: 5
Description
The aim of this subject is to study in depth the con-
cept of interdisciplinarity, understood as the integra-
tion and globalization of knowledge derived from each
of the design disciplines. The project proposals have
their origin in the proposal of general hypotheses with
a certain conceptual abstraction, in which the pro-
cess of generating common ideas, the communicative
capacity, and the clarity and coherence in which the
project is presented are essentially valued.
Core curriculum
1. Management of a multidisciplinary project.
2. Necessary tools, management models and direct
application on the project.
3. Real development of a project on the needs of the
local territory.
Bibliography
Gregory M. Horine. Gestión de proyectos. Edición
revisada y actualizada 2010.
Nicholas Low, Darko Radovic, Brendan Gleeson y
Ray Green. The Green City. Harvard University. Ed.
Ecological Urbanism.
TRHOSBY, D. (2001). Economía y cultura, Madrid:
Cambridge University Press.
→ Ergonomics
Itinerary: Product design / Design management
ECTS Credits: 4
Description
It deals with the interrelation and the use of the er-
gonomics knowledge and techniques in the product
design project. It delimits the respective ontological
domains, presents the obtaining and instrumenta-
tion of the ergonomics’ data and defines an operati-
ve methodology to be applied in design projects.
Core curriculum
1. Anthropometry.
2. Person block.
- Skeletal and muscular system / posture.
- Cardiovascular and metabolic system / physical
effort and biomechanics.
- Neurological system and sensory organs / mental
effort and cognition.
3. Environment block.
- Air, breathing, air conditioning.
- Light, vision, illumination.
- Sound, hearing, acoustics.
4. Person / Machine System.
5. Ergonomics of hand and tools.
6. Usability.
Bibliography
BUSTAMANTE, A. (2008). Ergonomía para diseñadores.
Madrid: Esditorial Mapfre.
CARMONA, A. (2001). Datos antropométricos de la
población laboral espanyola. Madrid: Institut Nacional
de Seguretat i Higiene en el Treball.
JORDAN, P. W. (1998). An introduction to usability.
Londres: Taylor & Francis.
LAPLACE, J. (1985). La psicologia ergonómica.
Barcelona: Oikos-Tau.
NOGAREDA, S. (coor.) (5a ed. 2008). Ergonomía.
Madrid: Institut Nacional de Seguretat i Higiene en el
Treball. Ministeri de Treball i Immigració.
NORMAN, D. (1990). La Psicología de los objetos
cotidianos. Madrid: Nerea.
PANERO J., ZELNIK M. Las dimensiones humanas en
los espacios interiores. Estándares antropométricos.
Mèxic: Ed. G. Gili.
WOODSON, W. (3a ed. 2016). Human factors and
Ergonomics Design Handbook. USA: McGraw-Hill
Education.
YOUNG, M.; A.STANTON, N. (2a ed. 2014). Guide to
Methodology in Ergonomics. Designing for Human Use.
Nova York: Taylor & Francis.
55
10.4 Fourth academic year.
Common subjects
→ Internships
Itinerary: Common
ECTS Credits: 14
Description
Work placements have the function of completing
and reinforcing the student’s training with professional
experience in the business environment. The
educational cooperation agreements are the
framework that regulates the relationship between
the company, the student and the university. The
Undergraduate Degree in Design aims to prepare
students to be able to join the company. The
internship, which lasts 240 hours, is the student’s first
contact with a professional studio.
Core curriculum
1. Practical, technological and theoretical knowledge
for the practice of the discipline.
2. Systems, components, processes and experiments
specific to the practice.
→ Final Degree Project
Itinerary: Common
ECTS Credits: 16
Description
The Final Degree Project is the last pedagogical record
to evaluate the knowledge acquired by the student
during their training period. It is a project that has
to integrate projectual, instrumental and conceptual
competences. It is carried out individually with the
help of a mentor. The FDP has specific regulations for
each curricular itinerary.
Core curriculum
1. Global knowledge acquired during the training.
2. Conceptual and technical tools, specific to the
itinerary itself for the design of a final project.
3. Ways of presenting and exhibiting one’s own final
project.
4. Disciplinary integration.
→ Free-choice credits
Itinerary: Common
ECTS Credits: 2
Description
Consists of attending workshops and seminars linked
to the study of design. To pass this module, students
will have to write short commentaries of the sessions
attended, with the aim of getting them to reflect on
the design themes that are covered.
Core curriculum
The content depends on the chosen activity. The
activities or workshops are advertised in advance
and allow the registration of students through
communication from the secretary’s office or the
Conference coordinator of each one of them.
Bibliography
Carlino, P. y Martínez, S. (coords.) (2009). La lectura y
la escritura: un asunto de todos. Neuquén: Universidad
Nacional del Comahue.
56
10.4.1 Fourth academic year
Fashion design subjects
→ Fashion Projects I
Itinerary: Fashion design
ECTS Credits: 6
Description
This subject focuses on the development of a
collection based on woven and knitted fabrics.
Woven: This subject is conceived as a test bench for
different creative processes focused on the theme
of the final degree project itself. Development of
“commercial” collections based on the experimental
ideas achieved.
Knitting: In this course, we deal with different
techniques and themes so the student can learn
to experiment and design a knitted garment from
a specific concept. Applying and using different
techniques and themes as a basis for expanding
creativity.
Core curriculum
1.Development of a collection based on the creation
of their own fabric using all the materials provided
by Pronovias; fabrics, appliqués, embroidery, etc.
Application to “commercial” collections inspired by the
theme of the Final Degree Project.
2. From modeling, inlaying, and assembling, developing
sketches, collages, and own designs inspired by the
theme of the Final Degree Project.
3. Unification of both projects. Final look. Shooting.
→ 20th Century Fashion Styling and
Photography
Itinerary: Fashion design
ECTS Credits: 3
Description
(The decades and their designers). A journey through
the 20th Century through the main designers
who have marked the different decades and the
history of fashion in general. All of the teaching
sessions are supported by images that illustrate the
contents. The content of the subject is the result
of an approach to the phenomenon of fashion
in relation to the social, economic, artistic, and
thought environment. For this reason, the subject
is based on sociology, anthropology, semiotics,
and art history, understanding the phenomenon of
fashion as a whole, which is why the approach is
not only formalistic but also reflects on the context.
Students are provided with information on the main
sources of documentation to learn about the subject
(bibliography, museums, libraries, literature, cinema,
art, exhibitions, etc.).
Core curriculum
The decades and their designers.
1. The century of designers. For the first time, fashion
is pronounced with names and surnames. Main
designers and their contributions to the history of
fashion over the decades.
2. Key designers
- 10's: Poiret and Mariano Fortuny.
- 20's / 30's: Chanel, Vionnet, Lanvin, Madame Grés.
- 40's / 50's: Balenciaga, Schiapparelli and Dior.
- 60's: Courreges, Cardin, Rabanne, Mary Quant.
- 70's: Yves Saint Laurent, Halston.
- 80's: Mugler, Montana, Versace, Armani. Donna
Karan, Calvin Klein, Jean Paul Gaultier, the Japanese
school (Kenzo, Miyake, Yamamoto, Rei Kawakubo).
- 90's / 2000's: The Amberes school (Margiela,
Ann Demeulemesteer, Dries Van Noten), the
English school (Vivienne Westwood, John Galliano,
Alexander McQueen, Hussein Chalayan, Gareth
Pugh). The minimalism. The new man.
- 2000/2021: Technological poetics. Iris van Herpen.
- The second life of things (Upcycling): Marine Serré,
Collina Strada, Vode.
- The New Black: Telfar Clemens, Pyer Moss, Virgil
Abloh, House of Aama.
Bibliography
Yvonne Deslandres, Florence Müller. Histoire de la
mode au XXe Siècle. Edit. SOMOGY, Paris 1986.
Charlotte Seeling. El siglo de los diseñadores, 1900-
1999. Edit. Köneman, 2000.
Gilles Lipovetsky. El imperio de lo efímero. Edit.
Anagrama. Barcelona, 1990.
Nicola Squicciarino. El vestido habla. Edit. Catedra.
Madrid, 1990.
Karl Rosenkranz. Estética de lo feo. Edit. Julio Ollero
Editor, 1992.
Joanne Entwistle. El cuerpo y la moda. Edit. Paidós.
Barcelona, 2002.
Margarita Riviere. Crónicas virtuales. Edit. Anagrama
col. Argumentos. Barcelona, 1998.
Art/Fashion. Edit. Biennale de Firenze, 1997.
Regine and Peter Engelmeier. Fashion in film. Edit.
Prestel, 1997.
Ted Polhemus. Street Style. From sidewalk to catwalk”.
Edit. Thames and Hudson. London, 1994.
Ted Polhemus. Style Surfing. What to wear in the 3rd
Millennium. Edit. Thames and Hudson. London, 1996.
Clara Wilcox. Radical Fashion. Edit. Victoria & Albert
Museum. Londres, 2001.
F. Bonami, M. L. Fisa, Stefano Tonchi. Uniform. Order
and disorder. Edit. Charta. Milan, 2000.
57
→ Fashion Projects II
Itinerary: Fashion design
ECTS Credits: 6
Description
The subject deals with design from the approach of
a specific product based on underwear-swimwear,
footwear or kidswear. Each of these specialities
follows specific patterns and types of finishes. In this
way, students choose one of these three specialities
to deepen their knowledge of one of the fields.
Core curriculum
Underwear-Swimwear:
1. Introduction to the world of lace-embroidery.
Creation and development of a collection of intimate
apparel and lingerie with its corresponding prototype.
2. Introduction to swimwear with its complements
and accessories. Creation of a chain: study of the
space, target, brand, collection, etc. Creation and
development of a swimwear collection with its
corresponding prototypes.
3. Introduction to capsule collections in the world of
lingerie. Creation and development of a collection of
intimate apparel and lingerie with its complements
and accessories, with their corresponding prototypes.
Kidswear:
1. Design of collections focused on a children’s target.
2. Study of themes, colours, graphics and details
associated with this product.
3. Difference in proportions compared to an adult
body, among other specificities.
4. Permitted and prohibited materials according to
age. Usability.
Footwear:
1. Deconstruction of a shoe / Upcycling.
2. Pattern making II.
3. Upper II.
4. Photoshop.
5. Illustrator.
6. Rhinoceros / Solidworks.
7. Laser.
8. 3d printing (cutting, engraving).
9. Bio materials (Bioplastics, biofabrics).
10. Virtual reality design.
Bibliography
Laura Berens Baker. Laser cutting for fashion and
textiles. Laurence King Productions, 2013, Londres.
Karen W.Bressler, Karoline Newman, Gillian Proctor. Un
siglo de lencería. Revelando los secretos y encantos
de la lencería en el siglo XX. Status Ediciones, S.L.
Arrigorriaga (Vizcaya).
Richard Sorger, Jenny Udale. Principios básicos del
diseño de moda. 2009. Ed Gustavo Gili, S.L. Colección
GGmoda. Barcelona.
Lafuente Maite, Navarro Juanjo. Dibujo plano-
Ilustración de moda. Maomao publications, Barcelona,
2005.
→ Technical Fabrics
Itinerary: Fashion design
ECTS Credits: 3
Description
Knowing the sectors and the use of technical /
intelligent fabrics, analysing and manipulating them.
Create your own fabrics.
Core curriculum
1. Waterproof.
2. Double-sided.
3. 3D DENIM.
4. Photosensitive vinyl.
5. Phosphorescent paint.
6. Conductive paint.
→ Materials and Technology III
Itinerary: Fashion design
ECTS Credits: 8
Description
The course aims to establish the necessary
methodology so that each student can identify,
formulate and solve the problems that arise in the
development of each professional project that they
will have to face in the future. The subject has to
provide the student with the basic concepts to be
able to achieve the requirements established in each
fashion collection and analyze and interpret the
results. The subject aims to provide students with the
knowledge of materials and technological materials
necessary for the exercise of their profession. For this
reason, it is conceived as a continuation of Materials
and Technology II and focuses on the concept of
volume to understand the pattern-making process
as a biplane element to a three-dimensional element,
as well as the knowledge of the technique to make
volumes on mannequins (modeling). On the other
hand, the aim is to impart knowledge of the various
techniques and tricks of tailoring, always depending
on the desired volume and the fabric to be worked
with.
Technical data sheet: Ensuring the quality of the
pieces in our collections that mainly involve having
traceability of the actions carried out at each stage
of the process. From the technical specifications of
the product to the procedures and indications that
we establish for quality control and monitoring the
production of the garments, the aim is to create joint
workspaces with suppliers and manufacturers to
ensure the good development and quality standards
of each garment.
Core curriculum
1. Collection garment: photography.
2. Garments of Fashion Projects I.
3. Technical data sheet section::
- Introduction to quality management.
- Quality management in the supply chain.
- Transversality and synergies in quality control
management.
Bibliography
Nakamichi Tomoko, Pattern Magic, 2007, Vol. 1 y 2.
Books Bunka, Japón.
58
→ Textile Computing II (Fashion
communication)
Itinerary: Fashion design
ECTS Credits: 4
Description
The subject proposes an approach to the new
digital tools and channels for communicating brands
and fashion projects. Students generate their own
speeches at the level of styling to be published on
social networks and digital media.
Core curriculum
Creation of fashion campaigns focusing on the
development of an image, from styling and editorial
photography to the use of different dissemination
platforms (fashion show, instagram, twitter, tiktok,
facebook, LinkedIn).
→ Technology (Channels and techniques)
Itinerary: Fashion design / Design management
ECTS Credits: 6
Description
The course is based on two essential axes that
allow us to talk about design communication. Firstly,
it’s a journey through the different communication
channels and the productive and informative routines
of the mass media specialising in fashion, as a key tool
in the dissemination of content. Secondly, we will deal
with the methodology for the production of a fashion
editorial in a specialised media, both from the field of
styling and from journalism itself.
Core curriculum
1. Fashion and Communication.
- Socio-semiotic study of clothing.
- The language of clothing.
- The graphic communication of fashion.
2. Fashion and media.
- Fashion information.
- Fashion in the press.
3. Comunicación del discurso de moda.
- From lifestyle media to trend publications.
- The role of catwalks and their presence in
magazines.
- From editorials to fashion films. Fashion
documentaries.
- Fashion and social media.
Bibliography
Busquets, L. (1977). Para leer la imagen: mass-media
y educación.
Erner, G. (2013): Sociología de las tendencias.
Barcelona, Gustavo Gili Moda.
Erner, G. (2005): Víctimas de la moda. Cómo se crea,
por qué la seguimos. Barcelona, Gustavo Gili Moda.
Floch, J.M. (1993). Semiótica, Marketing y
Comunicación. Barcelona: Paidós.
Hall, E. (1972) La dimensión oculta.
Squicciarino, N. (1990). El vestido Habla. Cátedra.
Norman, Donald (1990). La psicología de los objetos
cotidianos. Madrid: Nerea
10.4.2 Fourth academic year.
Audiovisual design subjects
→ 3D Alternative Techniques
Itinerary: Audiovisual design / Graphic design
ECTS Credits: 4
Description
The course will delve into 3D techniques commonly
used in professional environments. Special emphasis
will be placed on the Mograph motion graphics engine
for the creation of motion design pieces and on the
integration of digital images with real images. At the
end of the course, students will have to present a
project involving the creation of a piece recorded
in a real camera and integrating 3D elements of
the student’s creation, for which we will study the
various techniques required such as tracking camera
movements and 3D objects in Cinema4D, HDRi lighting,
animation and composition of the final image.
Core curriculum
1. Mograph. Effectors and Fields: Sound Effector.
2. Mograph. Effectors and Fields: Random Effector,
Delay Effector, Fórmula.
3. Mograph. Effectors and Fields: Inheritance Effector,
Spline Effector.
4. Mograph objects: Fracture Object, Poly fx.
5. Mograph objets: Voronoi Fracture.
6. UVS mapping in C4D.
7. Render and integration I. Etiqueta de Composición.
8. Render and integration II.
9. Motion Tracker in C4D.
10. Creation of HDRI for lighting.
11. Mixamo and Adobe Fuse for creation of default
characters.
12. Render passes and final image composition.
Bibliography
Christiansen, M. (2010). Adobe After Effects CS5 Visual
Effects and Compositing Studio Techniques: ADO AFT
EFF. CS5 VIS_p1. Pearson Education.
Craft, T. (2003). The Complete Guide to Digital Graphic
Design.
Wyatt, H., & Amyes, T. (2013). Audio post production
for television and film: an introduction to technology
and techniques. Taylor & Francis.
→ Interactive Systems Design and
Programming
Itinerary: Audiovisual design
ECTS Credits: 8
Description
This subject starts from the acquired knowledge to
the audiovisual installations execution and goes in
depth into relationships between users and interac-
tive systems identifying requirements and needs in
order to be able to make a design focused on the
user. New spaces and interactive environments will
be analysed, as well as new devices. Programming
language knowledge will be offered, as well as
practical tools in the field of audiovisual languages and
installations.
Core curriculum
1. The new paradigm of technological ubiquity. Internet
of things.
2. PureData and visual programming environments.
3. Advanced electronics AC / DC, Sensors and
Actuators, and Microprocessors.
4. Audiovisual Synchrony.
5. Software communications and MIDI, OSC or Art-Net
platforms.
6. Mapping.
7. Responsiveness and integration with hardware
systems.
Bibliography
Pau, A. (2007). Humanismo 2.0: Arte, ciencia,
tecnología y sociedad. Barcelona: Editorial UOC.
Igoe, T. (2007). Making things talk: Practical methods
for connecting physical objects. O’Reilly Media, Inc.
Reas, C., & Fry, B. (2007). Processing: a programming
handbook for visual designers and artists. Mit Press.
Noble, J. (2009). Programming interactivity: a
designer’s guide to Processing, Arduino, and
OpenFrameworks. O’Reilly Media, Inc.
→ Aesthetics of Digital Media
Itinerary: Audiovisual design
ECTS Credits: 6
Description
The course is based on the interest and relevance
of knowledge of the different aesthetic positions,
focusing not only on the framework of the period
in which they were developed but also on the
perspective of the present and individualizing those
issues that are part of today’s debate. From this
perspective, the course will attempt to give a general
and introductory account of the birth of Aesthetics
as a discipline, the fundamental concepts that
underpinned it, and some paradigmatic conceptions
of its history, with the aim of understanding the
shift represented by the incorporation of (new)
technologies in art. Secondly, we will be introduced to
the current fields of digital artistic research, and the
approaches which lead to a new aesthetic conception
regarding the contexts, the creation, and the
presentation and reception of this type of work.
Core curriculum
1. Introduction to Aesthetics. Definition of aesthetics,
history and basic concepts.
2. Aesthetics applied to visual and audiovisual media.
3. Aesthetics(s) of digital media. Interaction,
immersion, multimediality, transmediality,
participation.
4. Digital production trends.
Bibliography
Paul Crowther. Digital Art, Aesthetic Creation. The Birth
of a Medium. Londres: Routledge, 2018.
Ben Stopher, John Fass, Eva Verhoeven, Tobias Revell.
Design and Digital Interfaces. Londres:
Bloomsbury Publishing, 2021.
Katja Kwastek. Aesthetics of Interaction in Digital Art.
Nueva York: MIT Press, 2013.
Tung-Hui Hu. Digital Lethargy. Dispatches from an Age
of Disconnection. Nueva York: MIT Press, 2022.
Jay David Bolter,Maria Engberg, Blair MacIntyre.
Reality Media. Augmented and Virtual Reality. Nueva
York: MIT Press, 2022.
Sofian Audry. Art in the Age of Machine Learning.
Nueva York: MIT Press, 2021
Pablo J. Boczkowski, Eugenia Mitchelstein. The Digital
Environment. Nueva York: MIT Press, 2021.
→ Graphics for Advertising
Itinerary: Audiovisual / Graphic design
ECTS Credits: 4
Description
The After Effects tool applied to the creation and
application of motion graphics in television products
and the creation of advertising content will be
explored in depth.
Core curriculum
1. Key tools for motion graphics.
- Preferences, workspace, color depth and alpha
channel.
- Ways to merge and Track matte.
- Layer Types, Masks and Hierarchies.
- Time interpolation for motion graphics (editor
graph, keyframes, movement guide).
- Text tool for motion graphics.
- Composition and animation 2d space.
- Render and codecs.
2. Advanced shape layers and masks.
- Advanced shape layers.
- Rotoscopy.
- Paint tool and Clone.
3. Keying and color retouching.
- Keying (Keylight).
- Color correction.
- Timings and time remapping.
4. Advanced Tracking and 3D channels.
- Composition and animation 3d space (cameras,
lights and shadows).
- Advanced Tracking with after effects.
- Camera tracking.
- Stabilize.
5. Composition for 3d passes and 3d.
- Composition for 3d passes and 3d channels.
- Manera Ray Traced.
- Introduction to Cinema 4d in Ae.
6. Pluguins and expressions.
- Introduction to the most famous pluguins.
- Introduction to expressions.
7. Audiovisual content analysis.
- Technical analysis of spots, commercials,
openings...
Bibliography
Crook, I., & Beare, P. (2017). Fundamentos del Motion
Graphics: principios y prácticas de la animación
gráfica. Promopress.
Merritt, D. (1988). Grafismo electrónico en televisión:
del lápiz al píxel. Gustavo Gili.
→ Projects III
Itinerary: Audiovisual design
ECTS Credits: 6
Description
The course aims to bring together the previous
knowledge acquired in the design subjects, with
the objective of generating audiovisual design and
production projects of different types and formats,
ensuring the development of relevant theoretical
research, the development of a suitable framework
of analysis, the correct identification and application
of methodologies and the development of technical
processes to achieve professional results. To this
end, the course divides the semester’s work into the
development of two full-length production projects,
which will subdivide each of the phases of realization
to ensure the achievement of each of the work areas
of production, emphasizing the processes of pre-
production, production, and post-production, and
placing special emphasis on finishing and achieving
high-level results.
Core curriculum
1. Introduction to the audiovisual fiction project (video
clip).
1.1. Introduction to the production of audiovisual
fiction projects.
1.2. Examples, works, and references.
1.3. Viewing and analysis of previous projects.
1.4. History of the Videoclip.
1.5. Group configuration, roles, and work profiles.
1.6. Introduction to pre-production methodologies.
1.7. Brainstorming.
1.8. Moodboards.
1.9. Intensity chart of the proposal.
2. Scriptwriting and pre-production processes of the
fiction project.
2.1. Narrative in fiction projects focused on the
music clip.
2.2. Plot and visual treatment of the proposal.
2.3. Production schedules.
2.4. Literary script and construction of the narrative.
2.5. Storyboard and technical script.
2.6. Technical team, scouting, and casting.
2.7. Proposed artistic and photographic direction.
2.8. Lighting schemes.
3. Production of the fiction project.
3.1. Shooting plan.
3.2. Budget study.
3.3. Shooting planning.
4. Post-production of the fiction project.
4.1. Post-production selection, editing, and PREVIS.
4.2. Editing and color grading (color editing).
4.3. Compositing and VFX.
5. Individual Project: Eye Candy.
5.1. Conceptualisation and analysis.
5.2. Narrative and formal approach.
5.3. Technical research.
Bibliography
Acaso, M. (2006). El lenguaje visual. Paidós. Barcelona.
Eisenstein, Serguei (2001). Hacia una teoría del
montaje. Volumen 1. Barcelona: Paidós.
Eisenstein, Serguei (2001). Hacia una teoría del
montaje. Volumen 2. Barcelona: Paidós.
Freire, A.; Vidal, M. (2015). Manual de montaje y
composición audiovisual: Técnicas, soluciones,
efectos y trucos. Tarragona: Altaria.
McKernan B., (2005). Digital Cinema: The Revolution in
Cinematography, Post-Production, and Distribution,
Ed.:McGraw-Hill.
W.Rea P. & K. Irving, D., (2010). Cortos en cine y vídeo:
producción y dirección, ed.: Omega.
10.4.3. Fourth academic year.
Graphic design subjects
→ Graphic Arts (Ecodesign)
Itinerary: Graphic design / Design management
ECTS Credits: 3
Description
The course proposes small graphic projects around
new ways of producing with new materials and inks.
Analysis and deconstruction of all the elements that
make up a packaging product, as well as production
and logistics to study its impact on the environment.
Core curriculum
1. Introduce small projects with new challenges to
experiment with new ways of producing.
2. Research into new materials and inks that will help
students in their projects and the near future.
3. Analysis and deconstruction of all the elements that
make up a packaging product, as well as production
and logistics to study its impact on the environment.
Bibliography
McDonough, W. and M. Braungart. Cradle to cradle:
Remaking the way we make things. New York:
North Point. 2002.
McDonough, W. and M. Braungart. The Upcycle: Beyond
sustainability – designing for abundance. New York:
North Point. 2013.
https://www.ellenmacarthurfoundation.org/
http://es.materfad.com/
http://openmaterials.org/
→ Projects III
Itinerary: Graphic design
ECTS Credits: 6
Description
In this course, we will work on the conceptualization,
planning, design, presentation, and justification of
different graphic design projects in order to give them
an objective value and a functional discourse. The
course is conceived as a reflection of the day-to-day
work in a professional design studio where a brief is
received and a project has to be developed from start
to finish. Part of the focus of the course will be to learn
to be critical and to justify one’s own decisions during
the conceptual and creative processes and to know
how to argue, document, and explain them. Different
types of projects are carried out. The first focuses on
the creation of an art direction for a campaign based
on a real briefing. This project will explore conceptual
and creative avenues in depth. The second will work
on a branding project in pseudo-random groups to
encourage teamwork and shared creative exercises.
In this case, the starting point will be the self-
generation of the briefing by the groups. In the last
one, 3 closed briefings will be offered and the focus
and typology of the project can be chosen according
to individual interests.
Core curriculum
1. Campaign art direction.
1.1. The project/client management process.
1.2. The search for conceptual paths.
1.3. The creation of creative paths and the search
for graphic references.
1.4. How to generate a campaign with personality
and coherence with the brief delivered.
2. Restaurant branding.
2.1. How to generate a briefing using different
techniques.
2.2. The search for conceptual paths.
2.3. Creation of the Brand Core.
2.4. Creation of the brand naming.
2.5. Creation of creative ways and search for graphic
references.
2.6. The design of the main brand. Creation of a
basic manual of graphic standards.
2.7. Creation of a visual graphic system of the brand
for applications.
3. Branding + Growth.
3.1. Analysis of the briefing.
3.2. Search for conceptual paths.
3.3. Creation of creative paths and search for
graphic references.
3.4. Design of the main brand.
3.5. Creation of the brand’s visual graphic system.
Bibliography
Müller, J. (1982): Sistemas de retículas, G.G. Diseño,
Barcelona.
Eva Heller (2017): Psicología del color, G.G. Diseño,
Ana Gea (2021). Vivir del diseño, Gràffica.
Donais, D. (1995): Sintaxis de la imagen, Ed. Gustavo
Gili, Barcelona.
Jardí, E., & Costa, J. (2012). Pensar con imágenes.
Barcelona: Gustavo Gili.
Chaves, N. (1990). La imagen corporativa. G. Gili.
Sánchez, A. (2001): Barcelona gráfica, Gustavo Gili,
Barcelona.
Jon Dowling, Céline Leterme & Javier Jaén (2020):
Greetings from Javier Jaén Studio, Counter-print.
→ Projects IV
Itinerary: Graphic design
ECTS Credits: 6
Description
This project-based subject is divided into two blocks.
The first, interface design, deals with the analysis and
design of the user experience through the redesign of
a real use case and the creation of an app based on
a predefined briefing. The second, printed graphics,
is block-oriented towards printed graphics projects
with a clear interdisciplinary vocation within the
different branches of graphic design (corporate
image, publishing, advertising, signage, etc.) and open
to all types of languages (typography, photography,
illustration, etc.). It is structured in three phases
to carry out a complete graphic project with real
content, with special emphasis on the concepts of
project methodology and application of the graphic
image.
Core curriculum
1. Interface design.
- Graphic analysis.
- Creativity and originality in the design process.
Subversion of the creative process.
- Interaction concepts, interface, information
design, information architecture, usability and its
evaluation, agile design and development methods,
collaborative design.
- Practical development of interfaces for different
formats, devices and platforms.
- Analysis and detection of problems and related
user experience principles.
- Techniques of analysis and empathy such as the
creation of persons.
- Defining the information architecture of an app.
- Design process: wireframes, style guides / design
system and prototypes.
- Use of Figma tool.
2. Printed graphics.
Phase 1. Design of the graphic image for an art
exhibition:
- Analysis (reference searching, benchmarking
and briefing definition).
- Assessment of the information acquired and
development of proposals.
- Final proposal applied on a flyer and
presentation.
Phase 2. Signposting:
- Facade tarpaulin.
- Banderoles.
- Posters for construction works (2 models).
- Room walls (3 elevations).
Phase 3. Communication:
- Poster.
- Leaflet.
- Press (3 formats).
- Merchandising (3 products).
Bibliography
Costa, J. (2014). Imagen global.
Jardí, E., & Costa, J. (2012). Pensar con imágenes.
Barcelona: Gustavo Gili.
Krug, S. (2006). No me hagas pensar: una
aproximación a la usabilidad en la web (No. Gi2974).
PEARSON.
Frascara, J. (2011). ¿Qué es el diseño de información?.
Ediciones Infinito.
Johnson, J. (2010). Designing with the mind in mind:
Simple guide to understanding user interface design
rules. Morgan Kaufmann.
Baines, P., & Haslam, A. (2005). Type & typography.
Laurence King Publishing.
Chaves, N. (1990). La imagen corporativa. G. Gili.
Fishel, C. M., & i Miralles, E. R. (2000). Rediseño de la
imagen corporativa. Gustavo Gili.
Kane, J. (2012). Manual de tipografía. Barcelona:
Editorial Gustavo Gili.
Müller Brockmann, J. (1992). Sistemas de retículas.
Editorial Gustavo Gili.
→ Graphics for Advertising
Itinerary: Audiovisual design / Graphic design
ECTS Credits: 4
Description
The After Effects tool applied to the creation and
application of motion graphics in television products
and the creation of advertising content will be
explored in depth.
Core curriculum
1. Key tools for motion graphics.
- Preferences, workspace, color depth and alpha
channel.
- Ways to merge and Track matte.
- Layer Types, Masks and Hierarchies.
- Time interpolation for motion graphics (editor
graph, keyframes, movement guide).
- Text tool for motion graphics.
- Composition and animation 2d space.
- Render and codecs.
2. Advanced shape layers and masks.
- Advanced shape layers.
- Rotoscopy.
- Paint tool and Clone.
3. Keying and color retouching.
- Keying (Keylight).
- Color correction.
- Timings and time remapping.
4. Advanced Tracking and 3D channels.
- Composition and animation 3d space (cameras,
lights and shadows).
- Advanced Tracking with after effects.
- Camera tracking.
- Stabilize.
5. Composition for 3d passes and 3d.
- Composition for 3d passes and 3d channels.
- Manera Ray Traced.
- Introduction to Cinema 4d in Ae.
6. Pluguins and expressions.
- Introduction to the most famous pluguins.
- Introduction to expressions.
7. Audiovisual content analysis.
- Technical analysis of spots, commercials,
openings...
Bibliography
Crook, I., & Beare, P. (2017). Fundamentos del Motion
Graphics: principios y prácticas de la animación
gráfica. Promopress.
Merritt, D. (1988). Grafismo electrónico en televisión:
del lápiz al píxel. Gustavo Gili.
→ Typography II
Itinerary: Graphic design
ECTS Credits: 4
Description
A subject that allows students to deepen their
typographic knowledge related to the world of
typographic design and publishing. On the one hand,
the historical evolution of typography is studied and
formalized through a printed and digital publication
adapted to the current reality (Smart Design). On
the other hand, we experiment with the creation
of lettering alphabets: from micro-typography to
expressive typography. Learning the uses, partitions,
and articulations of graphic space. Understanding
of figure-background relationships as well of formal
and chromatic contrasts. Use of grids and layouts.
Learning the dimensional relationships between
signs and groups of signs (and between these and
the support). The goal of the course is to design
typography in response to projects that require it.
Syllabus
1. Typographic experimentation.
- Research and documentation.
- Observation of alphabets created for different
processes.
- Stylistic definition of the alphabet to be created.
Proposal and creation process.
- The alphabet: alphabetic signs, punctuation marks
and numbers.
- Contrast their functionality and naming of the new
alphabet.
2. Print and digital publication.
- Documentary research and content selection.
- Finding the right formats.
- Text/image relationship, stain, margins and
structure.
- Proofs of typography, bodies and interlines.
Hierarchy.
Bibliography
BLACKWELL, L. (1998). La tipografía del siglo XX.
Barcelona: Editorial Gustavo Gili.
ELAM, K. (2006). Sistemas reticulares. Barcelona:
Editorial Gustavo Gili.
GUITTON, P. A Homage to Typography. Ed. Index Book.
Barcelona, 2009.
JARDÍ, E. (2007). Veintidós consejos sobre tipografía.
Barcelona: Editorial Actar.
KANE, J. (2005). Manual de tipografía. Barcelona:
Editorial Gustavo Gili.
LLOP, R. (2014). Un sistema gráfico para las cubiertas
de libros. Hacia un lenguaje de parámetros. Barcelona:
Editorial Gustavo Gili.
LARS MÜLLER (2005). Josef Müller-Brockmann. Pioneer
of Swiss Graphic Design. Baden (Suiza): Editorial Lars
Müller.
LUIDL, P. (2004). Tipografía básica. Valencia: Editorial
Campgràfic.
MARÍN ÁLVAREZ, R. (2013). Ortotipografía para
diseñadores. Barcelona: Editorial Gustavo Gili.
RODRÍGUEZ-VALERO, D. Manual de tipografía digital. Ed.
Campgràfic. Valencia, 2016.
SAMARA, T. Diseñar con y sin retícula. Ed. Gustavo Gili.
Barcelona, 2004.
TSCHICHOLD, J. El ABCé de la buena tipografía. Ed.
Campgràfic. Valencia, 2002.
TSCHICHOLD, J. La nueva tipografía. Ed. Campgràfic.
Valencia, 2003.
ZAPPATERRA, Y. Diseño editorial. Periódicos y revistas.
Ed. Gustavo Gili. Barcelona, 2008
→ Industrial Packaging
Itinerary: Graphic design
ECTS Credits: 3
Description
Approach to the complex world of packaging, in its
product and graphic aspects, taking into account
that in the professional life, the graphic application
on objects provided by the client is largely influenced.
Both aspects will be worked on in the course, with
predetermined exercises, always leaving open the
possibility of doing real work, in order to respond
to the collaboration agreements of the School with
collaborating companies. The exercises have an
audiovisual presentation and, whenever possible,
scale models of the product to be proposed.
Core curriculum
1. Introduction to Univers Pack. Research culminating
in a Product Proposal.
2. Interpretation of a Company Order with Real
Briefing. Interaction with the Client.
3. Packaging seen from different points of view. Reality
and irony.
4. The Graphic System applied to a Product Line.
Structure and Identity.
Bibliography
Abellán, M.: Eco packaging design, Ed. Monsa,
Barcelona 2012.
Calver, G.: ¿Qué es el packaging? Ed. G. Gili, Barcelona
2004.
Klanten, R.: Boxed and labelled, Ed. Gestalten, London
2012.
Varios autores.: Packaging pack, Index Book,
Barcelona 2012.
→ Photography II
Itinerary: Graphic design
ECTS Credits: 4
Description
The subject explores the photographic medium
in depth, expanding and consolidating technical
knowledge and photographic language, as well as
the processes of conceptualization and creation of
photography to be applied in the different professional
fields of design. The content of the course is divided
into a block on studio lighting and digital post-
production and a second block on the creation and
exhibition of a photographic project.
Core curriculum
1. The camera.
- Monitoring and evaluation of continuous light
exposure.
- Depth of field.
- Movement representation.
- Focal length and perspective control.
2. The photo studio.
- The studio flash.
- Flash photometry.
- Lighting schemes.
3. Photographic post-production.
- Digital management of photographic work.
- Digital development.
- Finishing and presentation, screens, digital printing
and books.
4. Image taking, field work.
- Direct photography, street photography,
documentary reportage...
5. Creative photography in the context of design.
- Presentation and development of ideas.
- The photo project.
6. Experimental techniques.
- Artistic photography.
Bibliography
Berger, J., Blomberg, S., Dibb, M., & Fox, C. (2000).
Modos de ver (pp. 1-90). Barcelona: Gustavo Gili.
Barthes, R., & Akçakaya, R. (2009). La cámara lúcida
(pp. 71-71). Barcelona: Paidós.
Flusser, V., & Molina, E. (1990). Hacia una filosofía de la
fotografía. México: Trillas.
Fontcuberta, J. (2003). Estética fotográfica.
Barcelona: Gustavo Gili.
Langford, M. J. (1971). Fotografía Básica. Ediciones
Omega,.
Sontag, S. (2011). Ante el dolor de los demás.
DEBOLSILLO.
→ 3D Alternative Techniques
Itinerary: Audiovisual design / Graphic design
ECTS Credits: 4
Description
The course will delve into 3D techniques commonly
used in professional environments. Special emphasis
will be placed on the Mograph motion graphics engine
for the creation of motion design pieces and on the
integration of digital images with real images. At the
end of the course, students will have to present a
project involving the creation of a piece recorded
in a real camera and integrating 3D elements of
the student’s creation, for which we will study the
various techniques required such as tracking camera
movements and 3D objects in Cinema4D, HDRi lighting,
animation and composition of the final image.
Core curriculum
1. Mograph. Effectors and Fields: Sound Effector.
2. Mograph. Effectors and Fields: Random Effector,
Delay Effector, Fórmula.
3. Mograph. Effectors and Fields: Inheritance Effector,
Spline Effector.
4. Mograph objects: Fracture Object, Poly fx.
5. Mograph objets: Voronoi Fracture.
6. UVS mapping in C4D.
7. Render and integration I. Etiqueta de Composición.
8. Render and integration II.
9. Motion Tracker in C4D.
10. Creation of HDRI for lighting.
11. Mixamo and Adobe Fuse for creation of default
characters.
12. Render passes and final image composition.
Bibliography
Christiansen, M. (2010). Adobe After Effects CS5 Visual
Effects and Compositing Studio Techniques: ADO AFT
EFF. CS5 VIS_p1. Pearson Education.
Craft, T. (2003). The Complete Guide to Digital Graphic
Design.
Wyatt, H., & Amyes, T. (2013). Audio post production
for television and film: an introduction to technology
and techniques. Taylor & Francis.
10.4.5. Fourth academic year.
Product design subjects
→ Projects III
Itinerary: Product design
ECTS Credits: 6
Description
Theoretical/practical subject in which products/
objects will be developed by first developing a
theoretical basis on which to create physical 3D
models.
Core curriculum
Two projects with a similar structure will be developed.
They will range from the conceptualization of the
product to its formalization. To do this, they will create
a hypothesis that they will have to develop based on
the analysis of theoretical documentation and product
references where they will finally formalize it into a
product. This product will first be developed in drawing
and then it will go on to 3D (digital and physical in
the form of a prototype). Finally, they will make a
presentation of the project in front of the class.
Bibliography
MUNARI, Bruno. ¿Cómo nacen los objetos?. Gustavo
Gili, 1983.
VAN HELVERT, Marjanne .The Responsible Object. A
History of Design Ideology for the Future. Valiz, 2016.
PAIS, Ana Paula i F. STRAUSS, Carolyn. Slow Reader. A
Source for Design Thinking and Practice. Valiz, 2016. -
LEONARD, Annie. Story of stuff: The Impact of
Overconsumption on the Planet, Our Communities,
and Our Health-And How We Can Make It Better. Free
Press, 2011.
NAVARRO, José Luis, Maquetas, Modelos y Moldes.
Editorial Universitat Jaume I. 2011.
TERSTIEGE, Gerrit. The Making of Design: From the First
Model to the Final Product. Basel. BirkhauserVerlag
AG, 2009.
DONALD, A. Norman. The design of everyday things,
Basic Books, 1986.
MAEDA, John. The Laws of Simplicity. MIT Press, 2006.
SHIMIZU, Yoshiharu; KOJIMA, Takashi; TANO, Masazo:
Models and Prototypes. Japan. Graphic Sha Pub Co,
2001.
→ Projects IV
Itinerary: Product design
ECTS Credits: 6
Description
The main objective of the subject is to provide
students with design approaches that place the user
at the center of the project, delving into techniques
for detecting and questioning the needs of users
and interpreting their context in order to generate
solutions. Therefore, working on Experience Design
today is the competence of all areas of design, as
we are going through a moment in which we are
experiencing the fusion of the physical and online
worlds. An excellent experience started online by a
user can be ruined in the interpretation of a message;
in the first moment of using the product, at the hotel
reception, at the moment of paying in a shop, or at the
moment of opening a gift. Keeping this in mind, the
way of approaching the project changes, assuming a
more empathetic behavior towards the people who
will be the users or consumers of our proposals.
Core curriculum
1. Brainstroming.
2. Theoretical framework.
3. Social and technological analysis.
4. User – Person definition + Moodboard.
5. Preparation, execution and documentation of user
interviews + Role Playing.
6. Customer Journey.
7. Working models for validation and feedback.
8. Prototyping and testing.
9. Iterations and improvements to the design
proposal.
10. Experience Journey.
11. Storyboard usability.
12. Technical project documentation.
13. Communicating usability.
→ Technique
Itinerary: Product design
ECTS Credits: 3
Description
Technical aspect:
The purpose of the subject is to forge a working
knowledge of different systems of structures. Joint
elements for different types of materials, as well as
an understanding of their strength. Different types
of surface finish for different needs or materials will
be exposed. On the other hand, the student will form
more or less complex structures and mechanisms
to evolve their technical background and be able to
realize creative concepts in the future.
Commercial aspect:
Based on a market study of the project to be carried
out, the student will propose the objectives to be met.
What consumer profile, what aesthetics and formal
style according to their critical analysis. The student
will be accompanied in order to maintain aesthetic
and formal coherence.
Theoretical Aspects: Socio-environmental:
To provide the student with knowledge about
sustainability, with the aim of designing concepts and
products with coherence and social awareness.
Core curriculum
Execution of 2 projects:
1. Tipi type dismountable structure. We will mainly
work on the realization of resistant but simple,
dismountable structures.
2. Folding chair and table. We will work on the study
of mechanisms and joints for the integration of
these concepts in an experiential way.
In each project, we will analyze the market and
the positioning of our product in terms of image,
functionality, and price. We will assess the commercial
coherence of the decisions by analyzing their
essential understanding.
Bibliography
ARCADIO LÓPEZ CASILLAS. Máquinas. Cálculos de Taller
(40ª ED.).
E. PAUL DE GARMO. Materiales y Procesos de
Fabricación (2ª ED.).
→ 3D Modelling and Rendering
Itinerary: Product design
ECTS Credits: 6
Description
3D Modelling and Rendering is a subject whose
objective is to provide students with the ability to
express their two-dimensional and three-dimensional
ideas through a digital channel (with the Rhinoceros
program) in order to present their projects quickly
and competently. The program used in this subject
is Rhinoceros, one of the most affordable programs,
economically speaking, in the industrial environment.
Core curriculum
1. Drawing and editing of curves, surfaces and solids.
2. Dimensioning systems and scales. Creating your
own box.
3. Printing of drawing plans. Dihedral and Perspectives.
4. Exploding and sections.
5. Rendering and materials.
Bibliography
Berchon, M., Luyt, B. (2016). La Impresión 3D: Guia
definitiva para makers, profesionales, artistas y
manitas en general. Barcelona: Ediciones Gustavo
Gili, SL.
Powell, D. (1993). Técnicas de presentación: Guía de
dibujo y presentación de proyectos y diseños. Madrid:
Tursen Herman Blume Ediciones.
https://www.youtube.com/user/Rhino3DTV/videos
https://www.youtube.com/channel/
UCsWpNdwxf0I3ffkedM505xA/videos
→ Furniture design
Itinerary: Product design
ECTS Credits: 4
Description
Conceptual and practical exercise based on the
development of the design of a complement of
domestic furniture. What complement of furniture
would you like to develop? Do you think you can
improve the function of an existing piece of furniture?
Have you detected a gap in the market as a result of
the new needs and technologies of today’s society?
We help you to materialize your idea, developing a
proposal for domestic furniture. An individual piece for
a specific space or function.
Core curriculum
The project is materialized taking into account its
serial production. The rationality and coherence in the
selection of materials are fundamental, with the aim
of achieving a reasonable price and compatibility with
the current market.
Phases:
1. Market research
2. Preliminary project.
3. Basic project.
4. Executive project.
5. Model / prototype.
→ Industrial Packaging
Itinerary: Product design
ECTS Credits: 3
Description
This subject is framed within the concept of product
development. A generic vision of the different product
packaging and merchandising solutions at the point
of sale will be obtained. The student will learn how to
create, design and produce volumetric packaging to
protect, preserve, represent, identify, and promote
any product. In order to achieve the competencies
of the subject, the student will be provided with
the knowledge and tools necessary to carry out
a complete design process. On the one hand, the
teacher will transmit the contents of the subject and
on the other hand the student will develop practical
exercises individually and in groups. The teacher
will accompany the student in the development
of packaging projects, ending with an audiovisual
presentation, accompanied by a prototype and a
product dossier.
Core curriculum
1. Basic principles of packaging: Introduction and
considerations.
2. Packaging project management: Analyse,
conceptualize and develop.
3. Typologies: containers, boxes, bottles, displays,
exhibitors, displays..
4. Volumetric structural design: Use and function.
5. Materials and production systems.
6. Graphics applied to packaging.
Bibliography
Abellán, M.: Eco packaging design, Ed. Monsa,
Barcelona 2012.
Calver, G.: ¿Qué es el packaging? Ed. G. Gili, Barcelona
2004.
Klanten, R.: Boxed and labelled, Ed. Gestalten, London
2012.
Stewart B. Packaging: Manual de Diseño y Producción.
Ed Gustavo Gili, 2008.
https://www.packagingcluster.com/
https://thedieline.com/
https://packagingoftheworld.com/
→ Automotion
Itinerary: Product design
ECTS Credits: 4
Description
Introduction to the automotive world from an open
perspective, from the current vehicle design (cars,
planes, trains, boats...) that designs differently the
experience of the interior of the cabin, the whole
world of the called “Colour & Trim” that is closely
linked to fabrics, textures, finishes, etc., as well as the
exterior design that deals with concept and style and
ends up taking shape with primary methodologies of
“theoretical lines”. Also, how could the mobility of the
future be, questioning and redesigning the concept
of the cabin with which we move in autonomous
vehicles (mobile screens, projections on the glass,
intelligent ambient lights, interactive seats, sensors
and voice recognition, etc.).
10.4.5. Fourth academic year.
Interior design subjects
→ Installations II
Itinerary: Interior design
ECTS Credits: 6
Description
It will try to provide the students with the instruments
that will allow them to know which installations will be
needed in the realization of a project, to calculate and
dimension them, integrate them within the premises,
draw them in the plans, and to describe them in the
memory. It will teach the student to develop the
ability to decide the spaces they will need for the
installations, the relationships between them, and the
implications in the development of the integral interior
design project.
Core curriculum
1. Electrical energy supply, distribution and control
systems.
2. Sanitary water supply, distribution and control
systems.
3. Gas supply, distribution and control systems.
4. Fire protection and fire extinguishing systems.
5. Distribution of communications, TV and indoor
systems.
6. Indoor comfort systems. Domotics and immotics.
7. Control of installations and energy efficiency.
Bibliography
Reglamento Electrotécnico de Baja Tensión e
Instrucciones Técnicas Complementarias. 2009.
Ministerio de Industria y Comercio. Centro de
Publicaciones. Madrid.
Gas Natural. 2005. Manual de Instalaciones
Receptoras de Gas.
Gas Natural. 2009. Instalaciones de gas en edificios
de viviendas. Aplicación del nuevo Reglamento
Técnico.
Pastor, Pedro. Guía de aplicación de las normas
técnicas del RICT. Creaciones Copyright.
Documentos biblioteca digital. Schneider Electric.
http://www.schneider-electric.com/download/es/es
Domótica My Home. BTicino. 2008. Legrand Group
España.
Manuel Poblet Tamara. Curso de Prevención de
Riesgos Laborales, Módulo II: Protección contra el
fuego. Universidad de Córdoba.
Vázquez Arenas, Gemma. 2011. Manual de
instalaciones de fontanería y energía solar en
edificación. Universidad Politécnica de Cartagena.
→ Computing IV
Itinerary: Interior design
ECTS Credits: 4
Description
Acquire intermediate-advanced knowledge of 3Dmax /
Vray software in order to be able to represent projects
of virtual spaces or objects in a photorealistic way.
Core curriculum
1. Management-logistics of the geometry of the
project (proxys).
2. Advanced lighting in 3dmax/Vray (light dome, ies,
HDRI...).
3. Advanced physical cameras and settings (depth
of field).
4. Creation/modification of intermediate/advanced
materials.
5. Advanced mapping.
6. Rendering and animation presets in 3DMAX-Vray.
7. Cinematic narrative in space projects.
Bibliography
https://3dcollective.es/
https://www.gov3dstudio.com/30-paginas-para-
descargar-modelos-3d-gratis-parte-01/ https://
archive3d.net/
https://3dsky.org/
https://evermotion.org/
https://polyhaven.com/hdris
http://www.3dmodelfree.com/
https://www.youtube.com/playlist?list=PLxt9ZAGPLIpe
B8TcHrpzxvEI4Ve3SfZBC
→ Rehabilitation
Itinerary: Interior design
ECTS Credits: 4
Description
This subject aims to provide students with theoretical
and practical knowledge related to the rehabilitation
of spaces. For this reason, it covers everything from
current regulations to the materials used, including the
most appropriate techniques for each modality.
Core curriculum
1. Pre-existing conditions.
- History / context of the place.
- Technical resources: pathology analysis.
- Graphic representation tools.
- The preliminary project, dialogue with the pre-
existence.
2. The project.
- The project phases.
- Legal aspects: applicable regulations.
- Project management: industrialists, trades
involved, budget.
Bibliography
Revista TECTONICA. Consulta de todos sus números,
en particular: num 18 (Rehabilitación I. Estructuras),
num 33 (Rehabilitación. Arquitectura Moderna).
VVAA . Material World. Innovative structures and
finishes for interiors. Basel/Boston/Berlin: Birkhäuser.
→ Materials and finishes
Itinerary: Interior design
ECTS Credits: 4
Description
Materials and their different finishes for interior design.
Working on the project idea and the choice of material
and finish as parts of the same fact. The choice of
materials and their application on-site as part of the
overall project decision.
Core curriculum
1. Materials and perception.
- Sensorial aspects of materials, warm-
cold, texture-smooth, full-empty, light-dark,
simple-complex, calm-kinetic, homogeneous-
heterogeneous.
- Colour and light.
- Scale and proportion.
- Atmospheres / atmospheres.
2. The habitability of interior spaces. The concept of
comfort.
- Hygrothermal comfort.
- Acoustic comfort.
- Lighting comfort.
- Healthy spaces, air quality, chemical and
electromagnetic environment.
3. Criteria for the choice of materials.
- Domestic space. Trends in materials for the
habitat.
- The contract project. Brand image and the choice
of materials.
- Materials for public spaces.
- The materiality of the ephemeral.
- Introduction to environmental aspects in the
choice of materials.
Bibliography
Beinhauer, P. (2012). Atlas de detalles constructivos
(nueva edición, 21 x 30 cm, 344 páginas). Barcelona:
Editorial Gustavo Gili.
Ching, F. D. K./ Binggeli Asid, C (2013). Diseño de
interiores. Un manual (1ª edición, 3ª tirada 21 x 30 cm,
344 páginas). Barcelona: Editorial Gustavo Gili.
Coles, J. & House, N. (2008). Fundamentos de la
Arquitectura de interiores (1ºedición en español).
Barcelona: Promopress.
→ Projects III
Itinerary: Interior design
ECTS Credits: 6
Description
It is proposed to develop three projects of different
scales in successive instalments with special
attention on the analysis of the programme and the
pre-existence so that this can be translated into
project incentives. With regard to the programme,
it is proposed to reflect on indoor activities, both
imaginary and public and residential. The aim is to
achieve in the final year the definition and complexity
of the proposals. In this same sense, the development
of technical and environmental factors must be
progressively more intense, favouring multidisciplinary
integration in a global and complex project.
Core curriculum
1. Imaginary interior spaces.
2. Fictional interiors.
3. Public interiors.
4. Representative interiors.
5. Interiors-exteriors.
6. Residential interiors.
Bibliography
Neufert, E. Arte de proyectar en arquitectura:
fundamentos, normas, prescripciones sobre recintos,
edificios...: manual para arquitectos, ingenieros,
arquitectos técnicos, profesionales y estudiantes. 15a
ed. renov. y ampl. Barcelona: Gustavo Gili, 2006.
Fumadó, J.L.; Paricio, I. El tendido de las instalaciones.
Barcelona: Bisagra, 1999.
Schmitt, H.; Heene, A. Tratado de Construcción. 8a rev.
y ampl. Barcelona: Gustavo Gili, 2001.
Constructing architecture: materials, processes,
structures: a handbook. 2nd extended ed. Basel:
Birkhäuser, 2008.
Vivienda, envolvente, hueco: un catálogo de
soluciones constructivas para la vivienda. Barcelona:
Actar, 2010.
Palimpsesto. Barcelona: Cátedra Blanca, 2011.
Col·lecció Habitatge i Ciutat. Barcelona: Departament
de Projectes d’Arquitectònics [sic], Universitat
Politècnica de Catalunya, ETSAB, 2010.
Ábalos, Iñaki. La buena vida: visita guiada a las casas
de la modernidad. Barcelona: Gustavo Gili, 2000.
Smithson, A.; Smithson, P. Cambiando el arte de
habitar. Barcelona: Gustavo Gili, 2001.
Monteys, X.; Fuertes, P. Casa collage: un ensayo sobre
la arquitectura de la casa. Bcn: Gustavo Gili, 2001.
Druot, F; Lacaton, A; Vassal, J.P. Plus: la vivienda co-
lectiva: territorio de excepción. Bcn: Gustavo Gili, 2007.
Alison and Peter Smithson: de la casa del futuro a la
casa de hoy. Barcelona: COAC; Polígrafa, 2007.
Typology +: innovative residential architecture. Basel:
Birkhäuser, 2009.
Rybczynski, Witold. La casa: historia de una idea.
Madrid: Nerea, 1989.
Las formas de la residencia en la ciudad moderna.
Barcelona: Edicions UPC, 2000.
Díaz Gómez, Cesar; Ravetllat i Mira, Pere Joan.
Habitatge i tipus a l’arquitectura catalana: singularitat
i juxtaposició del tipus en edificis en altura. Barcelona:
Col·legi d’Arquitectes de Catalunya, 1989.
Mozas, Javier; Fernández Per, Aurora. Densidad: nueva
vivienda colectiva = Density new collective housing.
Ed. condensada. Vitoria-Gasteiz: a+t ediciones, 2004.
→ Ephemeral Staging
Itinerary: Interior design
ECTS Credits: 4
Description
The course deals with the design of ephemeral
installations based on different spatial phenomena
and activities that may occur, such as an ephemeral
installation, a social event or an exhibition of
architecture and design, among other possibilities.
The course aims to define the exhibition narrative,
the observation of spatial phenomena, the reading of
conditioning factors, the mastery of representation
systems and the ability to transform space.
10.4.5. Fourth academic year
Multidisciplinary integration
→ Channels and Techniques
Itinerary: Fashion design / Design management
ECTS Credits: 6
Description
The subject is based on two essential axes that
allow us to talk about design communication. The
first is based on a journey through the different
communication channels and the production and
dissemination routines of the fashion mass media
used as key tools in the spreading of content. The
second focuses on the analysis of the fashion
message and its singularities.
Core curriculum
1. Fashion and Communication.
1.1. Socio-semiotic study of clothing.
1.2. The language of clothing.
1.3. The graphic communication of fashion.
2. Fashion and media.
2.1. Fashion information.
2.2. Fashion in the press.
3. Comunicación del discurso de moda.
3.1. From lifestyle media to trend publications.
3.2. The role of catwalks and their presence in
magazines.
3.3. From editorials to fashion films. Fashion
documentaries.
3.4. Fashion and social media.
Bibliography
Busquets, L. (1977). Para leer la imagen: mass-media
y educación.
Erner, G. (2013): Sociología de las tendencias.
Barcelona, Gustavo Gili Moda.
Erner, G. (2005): Víctimas de la moda. Cómo se crea,
por qué la seguimos. Barcelona, Gustavo Gili Moda.
Floch, J.M. (1993). Semiótica, Marketing y
Comunicación. Barcelona: Paidós.
Hall, E. (1972) La dimensión oculta.
Squicciarino, N. (1990). El vestido Habla. Cátedra.
→ Business III: design management
Itinerary: Design management
ECTS Credits: 6
Description
The subject aims to prepare students to face
the professional world and relate to the different
interlocutors who govern the destinies of companies.
It also aims to provide them with working and
management tools, based on design management
criteria and business design strategies, in order to
facilitate the designer/company dialogue.
Core curriculum
1. Introduction: new design paradigms. Review of the
basic concepts for understanding the importance of
design in today’s business world (holistic approach,
meaning, processes, and concepts). Introduction
of the key points of design management in business
processes.
2. Methodology of change through design. Design
Management: bases, methodologies, and determining
factors.
3. Integration of Design in the Company: roles of the
designer in business innovation processes. Tangible
and intangible factors. Networking.
4. The Design Management Process. Techniques for
the insertion of creative thinking in a global way in
multidisciplinary teams. Designer as a promoter of
innovation.
5. Formulation of Strategic Design Management
- manager’s profile and work tools: negotiation
strategies, time management, budget management,
etc.
Bibliography
BARLOW, Nigel. Re-think, Piensa Diferente. Alienta
Editorial, Barcelona 2007.
BEST, Katrín. Management del Diseño: Estrategia,
Proceso y Práctica de la Gestión del Diseño. Parramon
Ediciones: Barcelona, 2007
FUNDACIÓN COTEC. Diseño e Innovación. La Gestión del
Diseño en la Empresa. COTEC: Madrid, 2008. Disponible
en: http://www.oei.es/salactsi/diseno.pdf
→ Law and legislation
Itinerary: Design management
ECTS Credits: 3
Description
The course deals with the legal conflicts and
challenges a design professional may face in digital
and analog environments. The very global and cross-
border nature of the digital environment and the
current market requires legal analysis and study from
an international perspective, covering both national
and European regulations. Students are provided
with the basic knowledge of law focusing on the
practice of design, such as the fundamentals of law,
intellectual property rights, copyright, e-commerce,
consumer protection, communication, and illegal
online practices.
Core curriculum
1. Basic Notions of Law:
1.1. Legal Order, regulation, and Responsibility.
1.2. Introduction to the protection and balancing of
fundamental rights.
1.2.1. Freedom of expression.
1.2.2. Right to honor and the right to one’s own
image.
2. Intellectual Property Law; Industrial Property.
2.1. Intellectual property protection and registration
systems.
2.2. Patents.
2.3. Designs.
2.4. Trademarks.
2.5. Infringements and liability.
3. Copyright and Related Rights.
3.1. Definition and regulation.
3.2. Use of works protected by copyright; Licences
(copyright, CC, “copyleft”...).
3.3. Infringements and liability.
4. Regulatory Compliance in Communication.
4.1. Legal Aspects of Communication and Marketing.
4.2. Regulatory compliance in the digital and
audiovisual environment.
4.3. Legal Requirements in the organization of
events.
Bibliography
Anguita Villanueva, L. A., & Serrano Gómez, E. (2017).
Cuestiones de derecho de autor en la Unión
Europea. Reus.
Kur, A., Dreier, T., & Luginbuehl, S. (2019). European
intellectual property law : text, cases and
materials. Edward Elgar Publishing.
Rogel Vide, C. (2006). Diseños, propiedad intelectual y
propiedad industrial. En Estudios completos
de propiedad intelectual. : Vol. II (pp. 51-75). Editorial
Reus.
→ Information and signage
Itinerary: Design management
ECTS Credits: 6
Description
This subject deals with two defined fields which,
although they are developed in different environments
and supports, have a relationship of proximity as
they share non-verbal communication: signage or
graphics of the environment known internationally
as Wayfinding, which brings together in a complex
way the relationships between graphic design and
architecture, and secondly, the Visualisation of data
or Visual Data, two disciplines with great relevance in
visual communication in the 21st century.
Core curriculum
1. Tags: signs, signals, symbols, icons, spaces,
orientation, direction, circulation, colour, typography,
graphic synthesis.
2. Introduction: Theoretical introductory class on the
subject. Applied metaphor.
3. Metalanguage. Basic definitions. Specific language.
Applied graphics. Real examples.
4. Urban Signage - Behavioural patterns - Application
to a specific universe defined in the briefing.
Neighbourhood activities.
5. Visual Data. Day-Week-Year timelines are applied to
daily activities chosen by the student.
6. Marked spaces - Critical analysis of real spaces
with visual orientation deficiencies. Visual guidance on
a defined architecture.
Bibliography
This way, please - Environmental Graphic Design
Worldwide. Sandu Publishing, 2009.
V.V.A.A. Way of the Sign. Art Power Publishing. 2011.
Angus Hyland y Steven Bateman. Símbolos. Gustavo
Gili Ediciones, 2010.
V.V.A.A. Basic Sign. Silvie Estrada Publishers, 2012.
→ Specific Projects II
Itinerary: Design management
ECTS Credits: 5
Description
The course is conceived as a subject in which
students must develop the planning and execution
of a professional event. The teacher gives them the
necessary tools to be able to carry out their work
and involves them in professional work teams based
on visits to companies in the sector and interaction
with specialists. This is a task where the complexity
lies in the students’ ability to adapt to the professional
environment. In this situation, creativity, management,
and decision-making skills are crucial.
Core curriculum
1. Planning and control.
2. Budget and cost calculation.
3. Project feasibility study.
4. Agile methodologies in management.
5. Risk management and contingency plan.
6. Project implementation.
7. Analysis of the results.
74
ESDi Escola Superior de Disseny
Marquès de Comillas, 81-83 08202 Sabadell (Barcelona) Tel. 93 727 48 19
esdi.es info@esdi.edu.es
