Universitat Internacional de Catalunya

Professional English for Advertising I

Professional English for Advertising I
First semester
Main language of instruction: English

Teaching staff

The teacher puts his e-mail available to students : dmartinl@uic.es


This subject is planned as a graphic support course and in parallel to the Final Project subject.

The basic ideas around graphic design will be worked on. Know the basic bases of communication from typography, shape, composition, color, brand architecture, etc ... But also, tools and tricks in order to be able to use Adobe software in a basic way to provide the student with basic skills that allow him/her to develop safely and knowledgeable within a graphic design project.

Through individualized tutorials, advice will be provided for the graphic part of the final projects.

Pre-course requirements

B2 level in english.

Graphic communication notions.


The PEA(I) subject's main objective is to train students so you can develop your future professional work in a multinational company where the common language is English.


  • 04 - The ability of self assessment and professional self management
  • 05 - The ability to learn autonomously
  • 06 - The ability to act autonomously and responsibly
  • 07 - The ability to work in a group
  • 09 - Lingustic ability in Catalan, Spanish and English
  • 12 - The ability to produce spoken and written texts
  • 13 - Reading skills
  • 14 - Ability to analyse
  • 20 - The ability of concretion
  • 21 - The ability of abstraction
  • 22 - The ability to generate debate and reflection
  • 97 - To be able to read and understand literature in the field of communication in the English language
  • 98 - To skillfully manage terminology in English related to Communication

Learning outcomes

At the end of the course, students should be able to:

- Understand the basic processes of graphic communication.

- Elaborate analysis and diagnosis of brand identity

- Know and use the basic functions of Photoshop, Illustrator and InDesign


Good and bad design.
Aesthetical taste.
Graphic Design. Profiles.

Vector vs. pixel.
Images and Resolution.
When to use Photoshop, Illustrator, Indesign.

Color Physics.
Light / Pigment.
Additive and Subtractive Synthesis.
CMYK / RGB / HTML / Pantone / RAL
Color Parameters. Hue / Brightness / Saturation
Color Harmonies.
Semiotics of Color.

Semiotics of Typography.
Anatomy of the letter.
Type Classification.
Tips on typography use.
Tracking & Kerning.
Brands and Guidelines.

Form Theory.
Perception and Gestalt Laws.
Image syntax.

Teaching and learning activities

In person

Eminently practical subject.

It will consist of theoretical-practical classes, followed by basic exercises.

Monitoring and tutoring of the graphic part of the Final Project subject.

English will be the vehicular language.

Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. 1
Focused Praxis. Handing in occasional exercises to learn theory through practice. 2
Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. 1

Evaluation systems and criteria

In person

Partial exercises: 30%

Final presentation: 50%

Attendance, involvement and participation: 20%


In second and other calls, all not passed exercise or practice in previous calls must be presented.

In the event that the student not pass for lack of attendance, involvement and participation, an extra exercise will have to be handed in.


A lack of attendance/delay of more than 20% of the class days (4 days) will imply the non-acceptance of the final practical, with the consequent failure of the course.


Faculty regulations regarding plagiarism will be strictly observed.

Bibliography and resources


Albers, J. (1999). La interacción del color. Madrid: Alianza.

Hüppers, H. (2002). Atlas de los colores. Barcelona: Blume.


Capriotti, P. (2009) Branding corporativo.Fundamentos para la gestión estratégica dela Identidad corporativa. Santiago de Chile: Colección de Libros de la Empresa.

Available at: http://www.analisisdemedios.com/branding/BrandingCorporativo.pdf

Capriotti, P. (2013) Planificación estratégica de la imagen corporativa.  Málaga: Instituto de Investigación en Relaciones Públicas.

Available at: http://www.bidireccional.net/Blog/PEIC_4ed.pdf

Maidens, Frank & Hui, Vivian (2016) Logo Design Guide. StudioFunction, Toronto.

Available at: https://studiofunction.com/logo-design-guide/LogoDesignGuide-StudioFunction.pdf

Mollerup (2013) Marks of Excellence: The History and Taxonomy of Trademarks. London: Phaidon Press.

Olins, W. (1999) Corporate identity: making business strategy visible through design. Harvard: Harvard Business School Press.

Roberts, K. (2004) Lovemarks: The Future Beyond Brands. New York: Power HouseBooks.

Roellig, L. (2001) “Designing Global Brands: Critical Lessons”. Design Management Journal.  12 (4) 40–45.

Available at: https://onlinelibrary.wiley.com/doi/pdf/10.1111/j.1948-7169.2001.tb00563.x

Siegel+Gale (2015) Logos Now. A study on logo treatments and brand perceptions.  Siegel+Gale, New York.

Available at: http://simple.siegelgale.com/acton/fs/blocks/showLandingPage/a/9371/p/p-0013/t/page/fm/0

Way, C. J. & Koller, V. (2013) “Deliberate Conventional Metaphor in Images: The Case of Corporate Branding Discourse”. Metaphor and Symbol, 28 (3).

Available at: http://eprints.lancs.ac.uk/65762/

Wheeler, Alina (2013/2018) Designing Brand Identity. Hoboken: John Willey & Sons.

Available at: https://books.google.es/books/about/Designing_Brand_Identity.html?id=VLg6DwAAQBAJ&printsec=frontcover&source=kp_read_button&hl=en&redir_esc=y#v=onepage&q&f=false


Dondis, D.A. (1990). La sintaxis de la imagen, Introducción al alfabeto visual. Barcelona: Gustavo Gili.

Maeda, J. (2008). Las leyes de la simplicidad. Barcelona: Gedisa.

McCandless, D. (2009). Information is beautiful. London: Collins.

Müller‐Brockmann, J. (1982). Sistemas de retículas. Barcelona: Gustavo Gili.

Munari, B. (1990). Diseño y comunicación visual. Barcelona: Gustavo Gili.

Rom, J. (2002). Els fonaments del disseny gràfic. Barcelona: Trípodos.


Blackwell, L. (2004).Tipografía del siglo XX. Barcelona: Gustavo Gili.

Coles, S. (2012). The Anatomy of Type. New York: Harper Collins.

Highsmith, C. (2012). Inside Paragraphs: typographic fundamentals. Boston: The Font Bureau, Inc. 

Jardí, E. (2021). Cinquanta i tants consells sobre tipografia. Barcelona: Gustavo Gili.

Kane, J. (2005). Manual de tipografía. Barcelona: Gustavo Gili,.

Kunz, W. (2002). Tipografía: macro y microestética. Barcelona: Gustavo Gili.


Adobe (s/d) [on-line] Photoshop User Guide.

Disponible en: https://helpx.adobe.com/photoshop/user-guide.html

Adobe (s/d) [on-line] InDesign User Guide.

Disponible en: https://helpx.adobe.com/indesign/user-guide.html

Adobe (s/d) [on-line] Illustrator User Guide.

Disponible en: https://helpx.adobe.com/illustrator/user-guide.html

Adobe (s/d) [PDF] Adobe® Photoshop® CC Help.

Disponible en: https://helpx.adobe.com/content/dam/help/en/pdf/photoshop_reference.pdf

Adobe (s/d) [PDF] Adobe® InDesign® CC Help.

Disponible en: https://helpx.adobe.com/content/dam/help/en/pdf/indesign_reference.pdf

Adobe (s/d) [PDF] Adobe® Illustrator® CC Help.

Disponible en: https://helpx.adobe.com/content/dam/help/en/pdf/illustrator_reference.pdf