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A day in the life of an Architect. (2020, September). Retrieved from https://www.youtube.com/watch?v=_C5vCGB8Xx0&ab_channel=30X40DesignWorkshop.

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Buschkuhle, C. (2016). An Education in Artistic Thinking. In R. Vella (Ed.), Artist-teachers in Context: International Dialogues (pp. 63-71). Rotterdam: Sense Publishers.

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Design Elements and Principles for Visual Communication Design.  (2020, September). Retrieved from https://helveticamediuma.com/learn/design-elements-principles/.

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Erickson, A., & Noonan, P. (2013). Research Guide College and Career Competency: Learning Schema. Retrieved from http://researchcollaboration.org/uploads/ResearchGuide- LearningSchema.pdf.

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How to generate ideas with the SCAMPER technique. (2020, September). Retrieved from https://www.youtube.com/watch?v=-OMJINQIZzA&ab_channel=MichaelMasters.

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Design Thinking. (2020, September). Retrieved from https://helveticamediuma.com/learn/design-thinking/.

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Low, J. Slides from a Graphic Design Capstone Presentation. 30 August, 2019.

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Low, J. Slides Presentation in Y10 VCD class, 27 August, 2020.

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Prime Studio Product Design. (2020, September). Retrieved from https://www.youtube.com/watch?v=3vlvtftDTE0&t=163s&ab_channel=LinkedInLearning.

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Students should be able to produce a final visual communication presentation for each communication need that satisfies the brief.

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School Assessed Task (2020, September). Retrieved from https://helveticamediuma.com/learn/vcd-unit-3-4-sat/.

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Stabile, C. (2014). A culture of teaching and learning excellence starts with an examination of assumptions: influences of general semantics on faculty development. ETC.: A Review of General Semantics, 71(3), 220-226.

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The Unromantic Life of an Illustrator. (2020, September). Retrieved from https://www.youtube.com/watch?v=VDBH1iP1Eto&t=576s&ab_channel=furrylittlepeach.

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Top Designs 2020 Visual Communication Design. (2020, September). Retrieved from https://museumsvictoria.com.au/melbournemuseum/learning/top-designs-2020/visual-communication-design/.

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VCD Theory Techniques for analysing visual communications. (2020, September). Retrieved from https://helveticamediuma.com/learn/analyse/.

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Students gain a detailed understanding of the three stages of the design process: development of brief, research and generation of ideas.
Defines two distinct communication needs for a real or an imaginary client.
Copyright and source acknowledgment conventions are observed.

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Students explore a range of existing visual communications in the communication, environmental and industrial design fields.
Students analyse visual communications in these fields and then create their own and articulate connections. The visual communications created by students include two and three-dimensional drawings.

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Architectural Design, Cordelia King, 2020.

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VCE Study Design Visual Communication Design. (2020, September). Retrieved from https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/visualcommunicationdesign/advice-for-teachers/Pages/DevelopingaProgram.aspx.

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VCE Visual
Communication Design:
Administrative information for
School-based Assessment in
2020. (2020, September). Retrieved from https://www.vcaa.vic.edu.au/Documents/vce/visualcomm/2020VisualCommunicationDesignSBA.pdf

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These final presentations and folios on display demonstrate student research and the generation, visualisation, development and refinement of ideas. 

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These final presentations and folios on display demonstrate student research and the generation, visualisation, development and refinement of ideas. 

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VCE Visual
Communication Design:
Administrative information for
School-based Assessment in
2020 Amended. (2020, September). Retrieved from https://www.vcaa.vic.edu.au/Documents/vce/adjustedSD2020/2020VisualCommunicationDesignSBAAdminAdjusted.pdf.

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Visual Communication Design Drawing Specifications. (2020, September). Retrieved from https://www.vcaa.vic.edu.au/Documents/vce/adviceforteachers/visualcomm/2020VisCommTechDrawingSpecs.docx.

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Balance in visual communication refers to the arrangement of components on two sides of a seen or implied vertical axis. There are two ways to balance a composition.

Asymmetrical balance is where the two sides of a composition are balanced, yet are not mirrored. In order to achieve balance off centre different sized components are given more or less visual weight. Visual weight is increased of decreased by changing on or more of; tone, colour, size or proximity to the central axis. Visual communications employing asymmetrical balance create a more dynamic composition and are suited to purposes where audiences are encouraged to interact with the design.

Balance in communication design may also refer to components set either side of the horizontal axis. This will involve the broader study of composition and includes grid layout, random layout, radial balance, spiral balance, triangular composition.

Balance in industrial and environmental design will involve the physical balance of a stucture.

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Design elements and principles for visual communication

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Balance in visual communication refers to the arrangement of components on two sides of a seen or implied vertical axis. There are two ways to balance a composition. Asymmetrical balance is where the two sides of a composition are balanced, yet are not mirrored.

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Visual Communication Design Study Design. (2020, September). Retrieved from https://www.vcaa.vic.edu.au/Documents/vce/adjustedSD2020/2020VisualCommunicationDesignSD.pdf.

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VCD Theory Techniques for analysing visual communications

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VCD Theory Techniques for analysing visual communications

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This page addresses the Key Knowledge point in Unit 3 of the VCAA Study Design for Visual Communication Design 2018-22, 'Techniques for analysing visual communications'.

There are two main factors to consider when making an analysis of design works:

The depth of analysis required, directed by action verbs

The category the analysis is aimed towards, or the focus of the analysis

To begin with there is analysis and there is analysis. There are two kinds of analysis: Single/ dual action directed questions and complex multi-level analysis.

In single/ dual action directed questions students are asked to exercise one particular skill directed by one or two action verbs. Example of these kind of questions are;

identify three features of ...

describe three features of ... and explain how they contribute to the function of ...

The skills of analysis are investigations made by exercising actions into or about a topic. The actions include these terms;

Identify (say or list contents)

Describe (relate the characteristics of the contents using adjectives)

Discuss (explore, give a range of viewpoints or interpretations)

Explain (link, provide reasons how, why)

Evaluate (assess its functionality and aesthetic success)

I have colour coded these words to help readers locate where and how they are used.

These are also the words that are used in exams, so it's a good idea to get used to using them now.

A full analysis requires students to explore a visual communication through enacting several of the actions. Once the categories for framing of the exploration are decided, one works through each of the actions (as required), building on and elaborating on previous information. Thus, one often identifies components, describes them by mentioning particular characteristics, discusses how they look, the effect they have, their function and how they may be interpreted, explains how and why they have been used, where the ideas come from, and finally evaluates how successful the design is.

The complete analysis is a complex look at something investigated in several ways.

There are several categories or topics that can be used to frame analysis. As mentioned above, a single/ dual action question will direct student to the focus for investigation. For example;

Identify dominant design elements and explain how they contribute to the aesthetics of ....

Directs students to examine a visual communication in relation to the category of aesthetics.

Similarly;

Explain how factors have influenced the design of ....

Directs students to examine in relation to the topic of factors that influence design.

A broad range of categories used to frame the investigation of visual communications includes;

Overview of the design

What is it? What problem does it solve?

The designer, date of design or production, client, producer

The target audience

The purpose

The context for its sale, display and/ or use

Aesthetic qualities

Elements and principles of design and their visual effects

Materials, methods, media, techniques and processes and their effects

Functional characteristics

Elements and principles of design and how they contribute to the function

Materials, methods, media, techniques and processes and how they contribute to the function

Factors that influence design
The social (including political, historical, stylistic, religious, etc.), economic, technological and/ or environmental factors that contributed to this design being made, at this time

The framework for analysis discussed in this article is one kind of lens through which to understand and interact with visual communications. One could also look at designs by applying the framework of 'techniques for gaining attention and maintaining engagement' (VCAA VCE VCD Study Design 2018-22), by looking through lenses of visual language/ literacy, or any other analytical frame.

I have a range of pages dedicated to informing students about a range of frameworks for the interpretation and production of visual communications. In order to write effectively students are advised to explore each of the articles more fully. One will find that they align with many of the categories above. Press any of the images below to visit pages that expand on these areas.

By now a student may begin to see that analysis begins with what one sees but then extends to what one (finds out and) knows about a visual communication. That's right, one is going to have to conduct some meaningful research in order to make a deep and informative analysis. However, if one is able to address the categories with several actions verbs, then an effective analysis of any visual communication will be written.

What is it?
Who was the designer?
Who was the client, the producer?
When was it made?
Who is the target audience?
What is the purpose?
What is its context (where will it be sold and used?)

What are the dominant design elements? List, and list sub components of them.

What are the dominant design principles? List, and list sub components of them.

What materials contribute directly to the look of the design?

*For communication design and illustration in industrial and environmental design;

What methods have been used?

What media has been used?

What is it designed to do?

What design elements contribute to the function? List, and list sub components of them.

What design principles contribute to the function? List, and list sub components of them.

What materials contribute directly to the function of the design?

*For communication design and illustration in industrial and environmental design;

What methods have been used?

What media has been used?

What factors influenced its design including; social, economic/ financial, technological, etc.

Write the answers up to these questions as simple statements in paragraph form. One may blend some of the answers together, but resist the temptation to elaborate and go into descriptions or discussions yet.

The Design elements shape and colour are used on the Shell logo.

(State the characteristics of the components you have identified)

What is the nature of these people and groups?

What is the nature of the purpose and context?

Examine the design elements and principles' visual characteristics in detail.

Examine the materials' visual characteristics in detail.

*For communication design and illustration in industrial and environmental design;

Examine the methods' visual characteristics in detail.

Examine the medias' visual characteristics in detail.

Describe how to use it.

Examine the design elements and principles' functional characteristics in detail.

Examine the materials' functional characteristics in details.

*For communication design and illustration in industrial and environmental design;

Examine the methods' functional characteristics in detail.

Examine the medias' functional characteristics in detail.

Examine the factor/s that influenced the design.

Provide more information about the items you have identified. You may begin to elaborate on visual qualities by describing the ways elements and principles work together. Resist the temptation to give opinions and reasons that explain the designs.

Thick outlines lines form a stylised shape of a scallop shell.The red and yellow are vibrant, warm colours.

(Examine the design from different perspectives)

Why was it made?

Examine broader questions about the design in its context like: Is the design mainstream?

Is it liked?

State the aesthetic qualities. What effect does the aesthetics have on the way it is interpreted?

State the functional characteristics. What effect do the materials, techniques etc., have on the way it functions?

Discuss how this product addressed influences.

Begin to refer to differing opinions and other readings of the design, whilst resisting the temptations to evaluate. One may begin to refer to the interpretations, meanings and stories behind designs.

The stylised geometric shape gives a highly professional, measured and industrial aesthetic quality to the logo.

The use of warm colours attracts attention in most outdoor contexts as they contrast with cooler blues and greens with the landscape.

The stylised shape contributes to its function as it is legible and combines with modern sans serif type faces chosen by corporations then.

(Link, provide reasons about how, why, when)

Give reasons for the designers choices made in response to the needs of the audience, purpose and context.

Give reasons for the designers choices made in relation to the aesthetic qualities.

Give reasons for the designers choices made in relation to the materials, techniques and processes used.

Give reasons for the designers choices made in response to broader social and other factors.

Refer to the interpretations, meanings and stories behind designs. Make links with other designs and forces. Explain how and why the designers made the choices they did. Give reasons for the choices designers made in response to influences.

The choice of a sea shell is a visual representation of the company's name.

The warm colours allude to heat generated by energy and serve to make this a strong visual device.

The strong lines, absence of type and the use of mirrored symmetrical balance not only help the logo to stand out from any background but also define Shell as a strong and well formed identity, recognisable across the globe.

The wedge like lines that radiate from a central point resemble flames from a burning fire and may even act as a metaphor for the spread of a company with a wide reach.

(Assess its functionality and aesthetic success)

Assess the design's success against it aims in terms or functionality, aesthetic goals and/or its social, historical, environmental or technological context.

When asked to evaluate you must give your opinion. But, here is the catch, it must be justified with evidence when given. Therefore, assess the design against criteria, including constraints and expectations that (you believe may) have existed in the brief.

Lowey's logo for Shell is a fantastic design. Its reductive simplicity has allowed it to adapt well to Shell's expansion in to markets across the world and through time periods from when it was introduced to compliment contemporary styles in type and design, to the needs of current, screen based applications.

As an iconic visual device it succeeds and maintains its position with other corporate symbols through its differentiation and ability to be easily recognised.

The following analysis is a complete analysis of a piece of industrial design. It is written as a response to the question;

Analyse and evaluate the Phillippe Stark Hot Bertaa kettle (1990) and explain how it became a controversial design icon in 1990.

The colours for the text illustrate sections corresponding to action verbs:

Identify (say or list contents)

Describe (relate the characteristics of the contents)

Discuss (explore, give a range of viewpoints or interpretations)

Explain (link, provide reasons how, why)

Evaluate (assess its functionality and aesthetic success)

The paragraphs correspond to the categories or focus for analysis.

Overview of the design

Aesthetic qualities

Functional characteristics

Factors that influence design

The Hot Bertaa is a kettle. It was designed by Philippe Stark, perhaps the first of the superstar designers. It was manufactured by Alessi, a specialist firm that produces a range of house-hold products designed by prominent industrial designers, in Italy from 1990 to 1997. Alessi makes low volume editions that attract a very narrow group of collectors and decorators. It was designed for audiences of men and women with a mid to high socio-economic status and a keen interest in industrial design. It was displayed in design stores and minimal modern houses. The prospective purchasers often surround themselves with objects that function more as sculptures than work well. The design is stimulating and divides design conscious people. Some people enjoy the focus on aesthetics, some hate that it does not function well, as intended and inferred by its premium price.

The Hot Bertaa is made from two intersecting forms. They are both conical. The more vertical, main form is angled and has convex curves. The other, more horizontal, gently tapering cone with almost parallel sides is trimmed at each end. It is a natural aluminium silver and pastel green. The materials it is made from are aluminium and plastic. The two forms are made in contrasting materials. The larger is aluminium and the other plastic. They are both finished in a gentle satin texture. The kettle is asymmetrically balanced. Each form sits around different contrasting axis. The main form appears to slouch, to lean backward, as if to balance as it supports its lengthy handle/ spout. It has a futuristic, minimal aesthetic quality. Its severe geometric forms are a clever interplay between two formal elements, yet it's casual poise seem to give it a jovial attitude, almost mocking its 'High Art' composition. The form of of the kettle resembles the central part of an aeroplane propeller called a 'spinner'. Stark grew-up around planes as his father was an aeronautical engineer. He was launched into a life of design, manufacturing and innovation. To design for Alessi is an honour given to only the best and most successful designers. Stark's Hot Bertaa is simultaneously a work in form, materials, aesthetics and a bold contradiction to the expectation that great designs work well.

It is designed to boil water when placed on a stove top. It is filled through the broader end of the handle/ spout, in a deep sink and sat atop a stove. The Hot Bertaa is demanding to fill and use. It is not apparent, exactly how to fill and pour it and is actually physically difficult to hold the bulk of its weight with such an asymmetrical cantilevered handle. It is also prone to having the handle melt if placed on a gas cook-top. Its design clearly is not motivated by ease of function.

The Hot Bertaa was designed at the end of the 1980s. The Eighties is known for huge economic growth that underpinned an increasing interest in flamboyant designs that could also be seen as 'fine art'. It may have been influenced by economic prosperity and the climate of Postmodernity that influenced the prolific market of design objects. The Hot Bertaa is a perfect response to the hedonistic influences of this period as it places its emphasis on aesthetics over function. It is an icon of wealth, of having sufficient income to buy an expensive product, though in reality is inferior to one purchased at Kmart. It is a kettle for a snob. It is also shaped by advances in contemporary manufacturing techniques. Although plastic and aluminium are common materials in appliances, the marriage in this instance is sophisticated and requires advanced techniques relating to tolerances and heat expansion. It is an elaborate exercise in design exclusivity and manufacturing prowess. It is the Ferrari of Kettles. Stark designed this piece to define his ability as a designer of heart stopping icons that would announce his arrival as an international force. For that, it was a huge and widely collected success.

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Techniques for analysis of visual communications for VCD

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This page addresses the Key Knowledge point in Unit 3 of the VCAA Study Design for Visual Communication Design 2018-22, 'Techniques for analysing visual communications'. There are two main factors to consider when making an analysis of design works: The depth of analysis required, directed by action verbs The category the analysis is aimed towards, or the focus of the analysis To begin with there is analysis and there is analysis.

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1:00 onwards

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How to Generate Ideas with the SCAMPER Technique

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Visual Communication Design explores how visual language conveys ideas, information and messages in the fields of communication, environmental and industrial design

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Unit 3: Visual Communication Design Practices
Unit 4: Visual Communication Design development, evaluation and presentation

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In this unit, students gain an understanding of the design process to think about and communicate ideas with clients and other designers.

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https://www.vcaa.vic.edu.au/Documents/vce/adviceforteachers/visualcomm/2020VisCommTechDrawingSpecs.docx

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School-assessed Coursework for Unit 3 will contribute 25% to the study score.
The school-assessed task (SAT) for Units 3&4 will contribute 40% to the study score.
The level of achievement for Units 3&4 is also assessed by an end-of-year examination. This exam will contribute 35%.

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What makes a truly good logo?. (2020, September). Retrieved from https://www.youtube.com/watch?v=RBTiTcHm_ac&ab_channel=Vox.

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If a student does not submit any of the SAT, a score of N/A should be entered for the relevant
criterion. A score of ‘zero’ is deemed a score for the criterion. A student can score for all criterion in Unit 3 and receive N/A for criterion in Unit 4 if the task is not submitted for Unit 4.

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The SAT extends over Units 3&4.
Unit 3 Outcome 3
Unit 4 Outcome 1
Unit 4 Outcome 2

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Outcome 1 Communication design practice Rubrics

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Development of design concepts and two presentations of visual communication to meet the requirements of the brief.
Having completed the brief and generated ideas in Unit 3, students continue the design process by developing and resolving concepts for each communication need stated in the brief.

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Writing a brief for visual communication design

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Writing a brief for visual communication design

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A brief is a document that is written as a result of a client identifying a design or communication need. It is a kind of check list that explains what the designer will do for his/her client.

In Visual communication design, the brief is the beginning of the design process.

The brief identifies a problem and expectations around solving it. Many problems regarding a student's inability to think divergently stem from the brief defining a solution rather than describing a problem.

The brief also identifies deliverables that the designer must create for the client. In our study these are called the presentation formats.

A brief begins in different ways and different times, according to the nature of the client, field of design and the communication need.

A brief can be informal notes written by a designer during a conversation with a client or a formal document delivered to manufacturers and designers.

A brief may begin with dot points then undergo a process of re-writing as aspects of a design problem and constraints and expectations are clarified through communication with a client. A formal brief is often written by a designer following these negotiations.

A brief becomes part of a designer's contract and is used for evaluation of the designer's work.

Although not required in our study, a brief may contain references to time lines and budgets.

Teachers and students must consult relevant documentation for their course. Specifically, the 'Study Design for Visual Communication Design' and the 'VCE Visual Communication Design: Administrative information for School-Based Assessment' in the relevant year, both published by VCAA, must be consulted for up to date requirements of a brief for the School Assessed Task in Unit 3 and 4, VCE VCD.

This information will include descriptions of the content required for a brief, formats to be used, word limits. They will also document the requirements regarding when a brief is to be written, when it is to be signed off by the teacher and the correct assessment of a brief.

Please consult these documents regularly as they are updated from time to time.

This page will address content generally found in briefs prepared for VCE VCD.

There is no specific format mandated for a brief. Suggestions include a letter or email from a client and a document containing subheadings that refer to the required content.

Briefs written from time to time in areas of study will have different requirements and deliverables.

A brief written for the SAT in VCE VCD will require the student to nominate two communication needs and two final presentations to be delivered for the client.

The content to include in this style of brief for the SAT is;

Description of client,

Target audience characteristics (may be written above communication needs where target audience is same for both communication needs, or may need further clarification further down as communication needs may be directed to different audiences),

Communication or client needs,

Presentation 1,

Purpose of communication need 1,

Context of communication need 1,

Constraints and expectations of communication need 1,

Presentation format 1.

Presentation 2,

(Refocus of audience characteristics for communication need 2 if required),

Purpose of communication need 2,

Context of communication need 2,

Constraints and expectations of communication need 2,

Presentation format 2.

Below is an actual student brief for the SAT Unit 3 Outcome 3. Tiea Sacco, 2019. This brief documents two communication needs and the communication design field that relate to a music festival.

Presentation 1: Branding and festival merchandise, Tiea Sacco, 2019.

Presentation 2: Promotional poster and festival pack, Tiea Sacco, 2019.

Nick Bakker is a well-known Dutch DJ, record producer and songwriter who has produced and released over 5 albums, all either winning an award or receiving a nomination. Now, in 2019, he has come up with the idea of creating a new Electronic Dance Music (EDM) festival, that will run for two days, which will showcase a range of EDM producers who will travel to perform at the Hisense Arena located in Melbourne, Australia. Naming his festival, Triangulum after his love for space, stars and galaxies, he will be inviting some of the most famous EDM producers who have inspired him throughout his musical career to do what he loves most; perform for the people. Not only will there be artists everyone knows, Bakker will also be inviting some up and coming artists who need some exposure to the music world. Through this festival he wishes to help those in need of guidance, concerning their music pathway, and wants to bring people together through the power of music.

The target audience consists of males and females, aged 18 an over. They live in various locations within Australia and are willing to travel from their home states to Melbourne for the event. The festival will also be aimed at those who live in Melbourne. As it is aimed at those who are 18 and over, they have a middle to high socioeconomic status, so they will have some disposable income to allow them to purchase tickets to music festivals. The target audience will either be studying in university or may already be working. As the festival does incorporate artists whom all produce music for the Electronic Dance genre, the target audience is expected to hold an interest in the EDM culture as well as an interest in getting involved in social gatherings. The target audience is expected to enjoy going out of their way to go to music festivals and performance while displaying high levels of energy and their love of music and a lively environment and atmosphere.

The client requires the design of the brand identity for the Triangulum festival. The client also requires that the design be applied to a range of merchandise to build the brand awareness of the festival.

To advertise and identify Nick Bakker's Triangulum music festival through the logo created during the design of the brand identity, allowing for differentiation from other music festivals.

The Triangulum logo will be applied to a range of merchandise material, such as t-shirts and hoodies, which will be sold during the festival at merchandise stands all around the venue. The logo will also be featured on the promotional poster, website and tickets.

The branding must symbolise the festivals style of music in a creative way. The logo must incorporate some inspiration from galaxies and stars, whether it be with the use of colours, shapes or symbols. As it takes inspiration from all things space, appropriate colours should be used, such as purples, blues, pastel colours and greens. Colours that represent nature, the galaxy and all things that have any relation to space such as the sun, the stars and the planets. The client has also requested that the logo is able to work in a variety of different scales allowing for it to be applied to a range of different contexts.

The possible final presentation format is a visual identity board which includes the final logo as well as the logo applied to a range of carries such as merchandise material.

The client requires the design of promotional posters and festival pack that will be used to inform the patrons of the artists playing and provide them with a guide for the festival.

To advertise and promote the Triangulum festival to the target audience and expose it to the public, encouraging them to buy tickets to come to the festival. The festival pack will then guide and inform those attending the festival.

The promotional poster will be printed and posted around the entire city of Melbourne along the sides of buildings. Digitally, the poster will up on their website for their target audience to see. The tickets will be printed and mailed out to those who purchase them as well as a lanyard and plastic card for those in VIP areas.

The client has requested for the logo to be present on both the promotional poster and all items in the festival pack. With regard to the poster, the client has once again requested for the use of space themed colours to be present as well as the name of the festival, names of some of the acts performing and information regarding dates, times and location. For the tickets, the client has requested a simple ticket that includes the logo, all of the necessary information regarding the event and the ticket barcode. Including the same colours, logos and graphics throughout the whole pack will link the whole design and festival together into one. The festival pack will include - tickets, lanyards with both the passes and the names of artists performing, and wristbands. As festivals tend to have a VIP area, there will be a separate colour or shape of ticket associated with this area, creating and easily identifiable VIP member. On the tickets there will need to be the name of the festival, date and time of entry as well as the standard barcode for entry to the event. This pack will be sent to the attendees before the event takes place, which allows for more time to look at each item in the back. The items of this pack will be placed in an envelope that is mailed to the attendees.

The possible final presentation format includes a presentation board presenting the finalised promotional poster and festival pack items. A physical mock-up of the pack and items included may also be produced.

A client is a real or fictitious person or organisation requesting a new design. Your client might be a multi-national corporation, a small business or an individual. We learn how to describe our client by explaining the nature of their business and what it seeks to do.

You need to conduct some research into your client. Find out details about them. Explore their background and what motivates them. Three ways to describe a client are:

the kind of business our client is.

the scope andsize of their business. You will also give the location of the business.

your clients' business missionor values. involves capturing the businesses' overall aim. It's why they exist.

For greater detail please visit my complete page.

An audience is the group of people to which a product, media product or visual communication is aimed. Audience is also referred to as the target audience or specific (target) audience.

Although audience and client can seem the same they are not. A client is the person commissioning a design whereas an audience are the people who will use it.

We refer to audience characteristics when we describe the target audience in a brief. These are;

Age,

Gender,

Culture,

Location,

Socioeconomic level,

Interests, beliefs, life-styles, values.

For greater detail please visit my complete page.

A visual communication is a commercial product that is intended to perform a particular function. Each visual communication is created for a reason. The reasons are known as the purpose.

In our study these are;

advertise,

promote,

identify,

depict,

teach,

inform,

guide.

When students are writing about the purpose of their presentations for their SAT, they should refer to the purpose for the proposed presentation format. This means they will more often be making presentations that depict, promote or advertise objects and not listing the function of the object itself.
For greater detail please visit my complete page.

Context refers to the location or situation where a visual communication will be seen or used.

Presentation formats for communication design, are usually submitted in their real context.

However, when students are designing in the fields of industrial or environmental design, further consideration is necessary for context. As our study does not require students to make actual functioning products then it is more likely, that a designer will be presenting a 2 or 3-dimensional depiction. The context for these kinds of presentations is the place where the presentations will be made.

To describe context in a brief, students should identify both the context for an object if it was manufactured and the context in which the depicting presentation will be shown.
For greater detail please visit my complete page.

The term constraint refers to a limit placed on the design of a visual communication. Clearly articulated targets provide clarity and direction for a designer.

Constraints usually applies to functional aspects of a design. This is easy to understand for industrial design. For example, to be able to fit in a certain size space or be foldable. Identifying constraints for communication design is a bit subtler. For example, constraints for a poster, may include the content required, the language captions are in, the imagery, or type and colours. Constraints refers to characteristics that can be measured.

The term expectations is often used with constraints. Expectations may include targets a design should to meet. For example; a high-chair is expected to be safe and painted with non-toxic paints.

Expectations also refers to the desires of a client regarding the aesthetic qualities or style of a design. A client will frequently want a design to reflect certain aesthetic characteristics. These kinds of expectations refer to style and as such can't be measured but are evaluated with experience.
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Constraints and expectations for the electric bicycle are,

Retain the appearance of a traditional bicycle,

Have a removable battery for recharging in owners' homes,

Have large tyres for rough urban street crossings,

Have mudguards and lights,

Have small luggage carrying racks,

Be easy to clean and maintain,

Be made from durable weatherproof materials and finished,

Be adjustable for seat height by the owner,

Look good in a range of bright colours,

Be a unisex design.

Presentation formats refers to the kind of visual communication made in response to a communication need. Although your design process will conclude with the construction of final presentations, students may refer to them as 'proposed presentation formats' in the brief. This provides scope for experimentation and development of ideas prior to resolution of concepts.

The presentation format is the real-life object produced in Visual communication design. 'Object' is used broadly and includes any 2 or 3-dimensional, or even projected or web-based outcome that may be the final step in the design process.

Presentation formats use visual language and conventions. An understanding of visual language relating specifically to chosen presentation formats is required.

They also use specific technical processes in production. An adequate knowledge of the structure of chosen presentation formats is also required.
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Writing a brief for Visual communication design

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A brief is a document that is written as a result of a client identifying a design or communication need. It is a kind of check list that explains what the designer will do for his/her client. In Visual communication design, the brief is the beginning of the design process.

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Writing a Brief for Visual Communication Design. (2020, September). Retrieved from https://helveticamediuma.com/learn/brief/.

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Create visual communications for specific contexts, purposes and audiences that are informed by their analysis of existing visual communications in the three design fields.​​

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Branding and festival merchandise, Tiea Sacco, 2019.

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Developing Ideas, Tiea Sacco, 2019.

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Game Poster Design, Navishka Fernando, 2016.

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Promotional poster and festival pack, Tiea Sacco, 2019.

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Students investigate how the design process is applied in industry to create visual communications.

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Discuss the practices of a contemporary designer from each of the design fields and explain factors that influence these practices.

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Apply design thinking in preparing a brief with two communication needs for a client, undertaking research and generating a range of ideas relevant to the brief.

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What product designers have to say about their work

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What product designers have to say about their work

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Prime Studio Product Design | Lynda.com from LinkedIn

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Branding and festival merchandise, Tiea Sacco, 2019.

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A Day in the Life of an Architect | Architecture vlog

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Promotional poster and festival pack, Tiea Sacco, 2019.

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Copyright and intellectual property for students of VCE VCD

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Rema O' Neill (Environmental Design), Jessie Yin, 2020.

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This is the second of three stages for your SAT. This is the commencement of your design processes.

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The information pack packaging net prior to cutting and assembling as a mock up. Amy Nguyen, 2018.

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Develop distinctly different concepts for each communication need evaluating the extent to which these concepts meet the requirements of the brief.

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Develop design concepts that satisfy the brief in Unit 3. Students manipulate and apply design elements and design principles to create concepts. Students apply design thinking and draw on their annotations and reflections to evaluate the effectiveness of their solutions.

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Creative thinking is an investigative, exploratory approach to design. If you think about an explorer they didn't know what exciting lands they were going to find. Scary really. We never know where our path will lead. It requires a curious, open-minded approach where we focus on the problem to be solved - and not on previous solutions.

Never be critical evaluate ideas when you are drawing. If you don't like a sketch you have made, make a new one. Remember keep all of your work, you need it as part of your Generation of Ideas stage of the design process.

Click on the image at right to visit my full page on Creative Thinking.

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Design thinking for students of VCE VCD Visual communication design

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Creative thinking is an investigative, exploratory approach to design. If you think about an explorer they didn't know what exciting lands they were going to find. Scary really. We never know where our path will lead. It requires a curious, open-minded approach where we focus on the problem to be solved - and not on previous solutions.

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Annotating is a written record of why you made a certain design decision was made, or even explaining what you have done in your design/ process of design.
Game Poster Design, Navishka Fernando, 2016.

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Visualisation Skeches, Brett Lambert, 2014.

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This is the third of three stages for your SAT.
Final presentations are the last stage of your design processes.

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You've done the work, now SHOW IT OFF. Students will find that a bit of folio work is needed to create visualisations for final presentations.

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Architectural Design, Cordelia King, 2020.

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Select suitable presentation formats that meet the requirements of the brief. Do you need to take photos? Create a pdf file or powerpoint presentation?

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Use a master grid layout with columns and guides set up in InDesign or Illustrator on an A1 page, Helvetica Mediuma, 2020.

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Use a master grid layout with columns and guides set up in InDesign or Illustrator on an A1 page, Helvetica Mediuma, 2020.

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Students apply design thinking to support the application of relevant stages of the design process.

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Development of Concept, Monique Pretto, 2008.

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Uhl, G., Model Analysis Answer Y12 VCD Class, 16 March, 2020.

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Development of Ideas (Manual and Digital)

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Development of Ideas (Manual and Digital)

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Developing Ideas, Tiea Sacco, 2019.

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A student example of processing the learning from designers case studies

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A student example of processing the learning from designers case studies

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Rema O' Neill (Environmental Design), Jessie Yin, 2020.

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The information pack packaging net prior to cutting and assembling as a mock up. Amy Nguyen, 2018.

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Following the display of mock-ups and receiving feedback from peers and/ or members of target audiences, students will process the data and evidence gained.

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Visualisation Skeches, Brett Lambert, 2014.