Some people say print is dead, and the future will be strictly digital. The reality of it, however, is much more complex and slippery.
As opposed to furthering the disappearance of traditional formats, emerging practices harmonise with them and empower them, offering the user a more dynamic and transversal experience.
This situation offers great challenges and opportunities for designers who work in editorial design. The role of these professionals goes beyond the traditional; they have become content strategists and storytellers, relying on an in-depth knowledge of technology. Their goal is to forge a connection between content, context and formats.
In this Master’s course you will gain new perspectives from international experts in the field of editorial design. Together, we will explore this new paradigm through projects, workshops and lectures. Not only will you discover responses to today’s challenges; you will learn how to approach the challenges of the future.
The Master is open to curious, dynamic and proactive students who want to explore the complex relationship between design and content and the symbiosis between print and digital.
Álvaro Fernández + Edison Zhinin · MDE 17.18
The practice of design needs decisive professionals with a mind of their own and a broad perspective on contemporary design. We want our Master’s programme to prepare students to meet those requirements through active experimentation and practical learning, with the support of quality professionals.
Students will work on three projects – a book, a magazine, and a digital platform – which they will develop in all aspects. Professors will collaborate in the process and encourage students to dig deeper, to go into detail without losing sight of the big picture, through a balanced combination of thinking, planning and action.
Beyond addressing technical aspects, the Master’s programme accompanies students in the pursuit of personal and professional development.
Clara Pessanha + Claudia Rizo + Natalia Rey · MDE 17.18
Design today is practiced collectively, and we want this transformation to be reflected in our Master’s programme. Working smart and effectively to produce quality implies contrasting, collaborating and sharing. Therefore, during the Master, each student will form a team with one other student in the pursuit of a meaningful and fruitful collaboration.
Practice makes perfect
The Master’s programme is based on an eminently practical perspective: experience offers us most of the keys to design.
Close to the reality
This Master’s course is intended to orchestrate a fluid transition between the academic and professional worlds. We want students to develop the best parts of themselves, to fuel their motivation and generate a working environment that closely mirrors the professional world.
Students and professors:
The programme faculty includes prestigious design professionals who play an active role in student development. Their experience and knowledge will serve as the source of constant advice in the search for solutions, to guide students in making their own decisions and developing their own perspectives.
Learn by doing: develop projects with support from professionals who are helping define what editorial design means today.
Rita Bravo + María Rey · MDE 17.18
The Master deals with the practice of editorial design from multiple perspectives and through different formats.
Editorial designers need to have the capacity to adapt to a changing industry and to play increasingly different roles.
The course is structured around different projects and teaching formats:
Before beginning work on the content of the programme, students will have some time to get to know each other through practical exercises. This is the initial phase in choosing a different partner for each project.
The aim is to provide students with techniques and tools for collaboration and joint creation, which they will use throughout the year.
Applying the dynamics of problem-solving, a necessary tool in the professional field, students will develop three projects throughout the course which will lead them to delve into the three fundamental areas of editorial design: a book, a magazine and a digital platform. Students will work with a different partner for each project to emphasise the importance of teamwork and complementary talents.
— Book design
In an increasingly digital world, what role does book design play? We will learn to conceptualise, develop and design meaningful publications, created only for the physical world, and executed in keeping with very high standards. We will push the limits of all aspects of editorial design – identity, typography, art direction, visual narrative, materialisation, etc. – and we will learn to take full advantage of books as a medium for reading.
— Design of periodicals
Editorial design from the standpoint of structure and continuity. The goal is for students to understand the process that underlies the development of a periodical. We will analyse each step in the creative process: from the creation of an editorial concept to the development and editing of content, the art direction, the design process and the importance of the physical object.
— Digital publishing platform
We will answer two key questions: What is a digital publishing project like today? What is the role of a designer? Society and the publishing industry have changed drastically and the figure of the designer has been transformed. Now, he must be involved in all aspects of a project, from concept to form. Students will develop an idea as editors, create or commission content as art directors, and give it form and usability as designers.
Instructors provide students with essential knowledge for the editorial designer while helping them to improve specific aspects of their three projects. Areas of assistance may include editing written content, defining aspects of production, or refining details of typographic execution.
Pursuing excellence in the selection and execution of typography is fundamental in editorial design. Typographic criteria and usage need to be adapted to the conceptual, functional, technical and aesthetic characteristics of each editorial project. The aim is to consolidate students’ typographical knowledge, to stimulate their critical ability to select and apply typography, and to help them develop the tools to make them more autonomous in this area.
— Graphic Arts
Graphic production is present in every design process as an inherent part. Learning about colour management, printing techniques, binding and finishing, paper and other materials, helps designers reap the maximum benefits from the creative process. Understanding the techniques and the specific vocabulary of the printing industry prepares designers for making decisions and optimizing economic resources in each project.
— Creative Production
The design process leads to the production, and often to inevitable corrections. Knowledge of the tools and the possibilities of execution can significantly improve the efficiency of this process. The production should be an opportunity for a disruptive speculation that allows us to rethink the creative possibilities. The hybridization between the analog world and interactive one is not only a choice but a necessity. Everything ends up living in the digital environment.
Designers also need to be able to assess the quality, intention and tone of a text. Drawing on classic journalistic and narrative tools, we will discover the creative potential of text. We will analyse practical examples by designers who have dealt with texts they do not understand, and we will look at the solutions they have applied. Finally, we will explore basic textual structures and their translation into design, so that form and content go hand in hand.
These practical exercises delve into different specific areas of editorial design. In this case, students will explore their creative potential in collaboration with active professionals from the field of editorial design: photographers, illustrators, etc. Students must also develop new versions of existing projects using pre-established parameters.
— Art direction
Learn the role of art direction in the world of magazines and books, specifically focusing on the medium of photography, often an underlying force in defining the identity and personality of a publication. This also includes the importance of social media and digital platforms in support of printed matter. Develop research skills and a working knowledge of the different actors involved in the production of editorial content.
In professional practice, some projects are conceived from square one, but most begin with a pre-existing definition. These projects have a history, a past. How do we approach a new phase in these projects? What should we keep, and what should we change in our new proposal? We will discover how a redesign is not just a purely formal transformation, since it also implicates function and/or content.
Workshops help complement and deepen knowledge of other competences and disciplines of editorial design. They take the form of meetings with specialists and recognised professionals.
They are usually scheduled from Monday to Friday.
The Agenda keeps us up to date on who has visited us and who will be coming next.
Research, experimentation and observation are essential to promoting talent. To that end, we offer students the opportunity to spend a week sharing with and learning from a professional from the international design scene who has developed a distinctive and recognisable visual language.
— Content creation
Generally, designers work with materials, like images and text, that have been provided by other professionals. But what would happen if, for a specific project, the editorial designer became a one-man band and personally created all the required content? That is what this workshop is about: exploring and analysing the designer’s role as producer or author.
— Artist's publications
Publications produced within a cultural or artistic context require a particular process. In that vein, we will respond to a series of questions. What is the relevance of printing and publishing today? What relationships emerge between graphic designers and artists, institutions and/or publishers? How are artistic content and concepts translated into graphic and printed language? The graphic designer as an editor?
We delve into the world of the photobook, drawing on its foundations and development. Working with an author, students will discover the particularities of the process of creation, learning how to develop narrative, rhythm and sequence in a photobook.
— Degree Show
The final workshop of the Master’s course involves a public exhibition of the work done during the course, in a variety of formats. In this case, students are tasked with developing an actual, complete exhibition and editorial project: it is an intense process that takes place with a very tight deadline and results in the Degree Show.
In addition to working on ideas, concepts, forms, colours and sources, editorial design also hinges on the quality of texts and the ability to present projects to clients.
Capsules are theoretical-practical exercises dealing with issues that are complementary but important to the practice of editorial design.
— Editing and proofreading
Editorial designers not only need to know their trade; they must also be able to manage content and know how to generate it. We offer specific sessions on intellectual property, copyright and the workings of the publishing world, as well as proofreading, and the norms and conventions for the correct use of proofreading marks.
— Public presentation techniques
How do we structure information using storytelling when we are presenting a project? How can we capture our listener’s interest using pitching techniques? How important is body language in our relationship with clients? This capsule will aim to answer all those questions.
Showcases and Case studies
Regularly, we organise meetings with local designers, which allow us to share experiences and knowledge. They provide exposure to new points of view, reflections and references that enrich our perspectives on the exercise of the profession.
The Agenda keeps us up to date on who has visited us and who will be coming next.
We invite prestigious international designers to give lectures, helping students to learn first-hand about experiences, projects and case studies in different fields of editorial design.
The Agenda keeps us up to date on who has visited us and who will be coming next.
Expand your perspective
The Master in Editorial Design is intended to be the beginning of something new, not an inevitable step in your career. We want this course to prepare you to find your own professional path. As such, we will encourage you to foster your independence and nurture your talent as you explore the different disciplines of editorial design.
Discover your potential
Learn to connect different ideas and perspectives to expand the possibilities in your future. We offer you the tools and the experience you need to design, develop strategies, generate content, or manage the creative process.
Build an excellent portfolio
The projects that you will complete during the course will give you the knowledge and skills necessary to create an excellent portfolio – the key to making the transition into the professional world.
Have a unique experience
The combination of projects, workshops, showcases, conferences and tutorials make this Master a great opportunity to build your knowledge and broaden your experience.
Live in a city awash with design
Barcelona is awash with design, culture, gastronomy and events of all kinds; it’s the ideal setting for learning and fun. Barcelona is inspiring, and your stay is sure to be an unforgettable experience.
Be part of a multicultural and enriching environment
Our students come from all over the world and create a vibrant cultural atmosphere where the exchange of ideas, points of view and cultures takes place in a natural way.
The students will work shoulder to shoulder under the guidance of professional experts and world-class teachers to translate their ideas into action.
Master's projects tutors
Javier Pereda, Esiete
Pol Pérez, Affaire
Josep Román, Affaire
Albert Folch, Folch
Guest Senior Critic
Irene Pereyra, Anton & Irene
Ane Guerra, Domestic Data Streamers
Robbie Whitehead, Apartamento
Diego Bustamante, Oficina de disseny
Santi Fuster, Bendita Gloria
Hatharina Hetzeneder, Oficina de disseny
Ariadna Serrahima, Oficina de disseny
Serge Rompza, NodeBerlin
graphic.elisava lectures 19.20
Hamish Muir & Paul McNeil
Our Polite Society
Matthias Kreutze & Jens Schildt
Mark van Wageningen
Office for Typography
Johannes Breyer & Fabian Harb
Masters' Talks 19.20
Two editions of the Master’s course are held each academic year, one in Spanish and one in English.
MED, Master in Editorial Design
is the English edition.
MDE, Master en Diseño Editorial
is the Spanish edition.
Click here for the course information in Spanish.
Number of Students
A maximum of 20 students will be selected for each edition of the programme.
Once the registration period is open, there is a rolling candidate selection process as preregistrations become effective.
Who can apply
Preferably students with a degree in graphic design and professional practitioners with experience.
Exceptionally, depending on their portfolios and accomplishments, graduates in fine arts, communication and advertising will be accepted.
Applicants must be proactive and proficient in the use of design software.
Thais Caballero, Coordinator
Marc Panero, Director
Tuesday, Wednesday and Thursday.
From 5pm to 9.15 pm.
Workshops from Monday to Friday.
*For academic reasons, sessions may be scheduled exceptionally outside these hours.
One edition in Spanish (MDE)
and one edition in English (MED).
In both editions, most workshops use English as the language of communication, with support in Spanish when necessary.
Almost all lectures, and some showcases or case studies, are in English.
Academic Year 2019-2020
English edition — 11,000 €
(plus 400 € in registrations fees)
Master’s Degree in Editorial Design, degree awarded by Pompeu Fabra University (UPF) and ELISAVA Barcelona School of Design and Engineering
In the interest of continuous improvement to the programme and the professional qualifications of our teachers, we reserve the right to make changes to the content and faculty of the Master’s programme.
is a Design Critic for MED master's projects
Albert is creative director and founder at Folch. Graduating in Graphic Design from ESDi School of Design, Albert initially studied Geology at UAB and photography at Royal Academie of Arts in Antwerp, Belgium.
Besides having founded the brands Odiseo and Eldorado, Albert is also executive producer of the film production company White Horse. He was recently awarded with a Premio Gràffica 2017.
“I consider that the figure of the graphic designer as we know it has come to an end. It blew up. Today designers must be incredibly versatile and should be open to understanding how communication works beyond paper. Designers need to be able to convert a creative idea into multiple channels and assets.”
directs the Design
of Periodicals project
in the MED
Founder and creative director at Studio Albert Romagosa, founded in 2014. The studio works across a wide range of disciplines for clients of all kinds. Member, since 2015, of the Presidential Board of ADG-FAD. Chairman of the prestigious Laus awards twice (2016 and 2017).
Albert is behind the Melancolía magazine combining design and edition. His work has been published in Thames & Hudson, i-D, Étapes, It's Nice That ...
leads the Digital project in the MGD
and the the Digital Platform project in the MED
Graphic designer (EINA, 1998). After six years of work and training alongside Fernando Gutiérrez and Pablo Martín, he founded ESIETE, integral consulting specialized in design, strategy and content. His works generates images, contents and significant experiences that create long-lasting bonds. Always striving for excellence in ideas and execution, his work has been acknowledged in national and international festivals. He is also founder and director of the magazine paseodegracia.com.
leads the Parametric Redesign project in the MED
© Gemma Miralda
Born in Barcelona, from where escaped a few years ago. He started his interest in digital typography in the early nineties and since 2005 his work is exclusively devoted to custom type design and font production.
Self-taught, writes small tools to make his and other's life easier and exciting and to flee from the software’s dictatorship.
Checks email manually.
"We design (un)consciously restricted by the existing software features. We mostly depend on tools created by engineers and not designers. Programming allows you to take your own path, a new way of thinking, a new approach far from the usual. It’s a creative singletrack that skips the road. It’s not an easy path, but it’s full of new and awesome adventures."
leads the Book Design project in the MED
Born in Barcelona in 1986. He studied graphic design at Elisava and completed his studies at ECAL in Lausanne (Switzerland). He worked as a self-employed designer since 2010 and as a collaborator of studios like Cosmic or Folch Studio, being awarded with the ADC*E Awards – Gold in the Editorial design category, among other awards.
In 2015 he partnered with Pol Pérez, and they currently run Affaire: a design studio for edition, art direction and design that primarily works for clients in culture and fashion. The studio’s work is complemented with Supermarché, a self-initiated editorial project where Josep and Pol publish and commercialize small editions that loosely revolve around concepts like consumerism and desire.
provides Typographic Consultancy on projects for the MED
Laura Meseguer is a freelance graphic and type designer. Her studio works for international and domestic clients but also in self-initiated projects. In 2003–2004, she took a year off to study type design at the Master Type and Media of the KABK in The Hague. Through her own type foundry, Type-Ø-Tones, she publishes and promotes her type designs, some of which have been awarded by the Laus Awarda and the Type Directors Club of New York.
She is specialized in all sorts of projects involving custom lettering and type design, for branding and publishing design. For her personal practice she gets the inspiration from what is around and focuses in projects that explore the expressivity of letterforms. She is the author of TypoMag. Typography in Magazines, and co-author of the book “Cómo crear tipografías. Del boceto a la pantalla”, published by Tipo e.
is a guest professor teaching a workshop
in the MED
Is a graphic artist, author and educator. He studied at Central Saint Martins School of Art and the Royal College of Art in London before relocating to Barcelona in 1991 where he founded the multidisciplinary studio ‘laVista’. In 2005 he published ‘Black & White’ a compilation of his work for the International Press. In 2011 Laurence King Publishing, London, published his second book ‘Protest Stencil Toolkit’. He is currently working on the follow-up, due to be released in 2018.
In 2007 he established his first silkscreen press in Barcelona and decided to concentrate on releasing personal, uncommissioned work. Since then he has exhibited his limited-editions across five continents, where many are now held in private and public collections. He set up a second silkscreen press in Berlin in 2016.
He has given talks about his practice and held workshops worldwide, extensively in the UK, Spain and Germany. Since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art and Design (Klasse Thomas).
Since 2011 he is based in Berlin. He works between there, London, Barcelona and Stuttgart. He is a member of AGI (Alliance Graphique Internationale).
leads the Editorial Design project in the MGD and the Book Design project in the MED
Born in Barcelona in 1988. He studied graphic design at Elisava and, for a period of time, at ZHdK in Zürich (Switzerland). After finishing his studies, he worked at various design studios and advertising agencies of Barcelona: Folch Studio, *S,C,P,F…, Bendita Gloria, Avanti Avanti, among others.
In 2015 he partnered with Josep Román, and they currently run Affaire: a design studio for edition, art direction and design that primarily works for clients in culture and fashion. The studio’s work is complemented with Supermarché, a self-initiated editorial project where Josep and Pol publish and commercialize small editions that loosely revolve around concepts like consumerism and desire.
leads the Visual Identity project in the MGD
and teaches the Degree Show workshop in the MED
Graduated in graphic design, he cofounded Bendita Gloria Studio with Alba Rosell. The studio works on projects from different fields (publishing, packaging, branding and communication) with the goal of always finding the right solution that combines adequacy, intelligibility and a certain surprise effect.
"We like to talk about design as a language and, in class, we underline the semantics involved in the discipline. The way we see it, in the course of their training, students should achieve control of the meanings involved in any formal decision and accept that design is also content."
is a guest professor teaching a workshop
on Content Creation in the MED
After graduating from Gerrit Rietveld Academie in Amsterdam, Serge Rompza has co-founded the Berlin and Oslo based design studio NODE in 2003, together with Anders Hofgaard.
The two offices collaboratively focus on identity, print, exhibition and interactive work.
Clients include Haus der Kulturen der Welt Berlin, Vitra, MIT Program in Art, Culture and Technology (ACT), Lithuanian Pavilion / La Biennale di Venezia, Office for Metropolitan Architecture (OMA).
Since 2004, he has regularly been teaching at art and design academies across Europe.