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VCE VCD Materials, Methods and Media Flashcards | Quizlet

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Start studying VCE VCD Materials, Methods and Media. Learn vocabulary, terms, and more with flashcards, games, and other study tools.

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Designing For Function and Universal Access | Sarah Houbolt | TEDxSydney

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The Importance of Environmental Design - Dynamic Earth Learning

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What is a Functional Design Specification (FDS)?

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🔸 Master ADVANCED Hierarchy In Under 7 Minutes! (Important)

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VCD U1O2 Design Elements and Principles - Target Learning

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This is a complete learning program for Unit 1 Outcome/ Area of Study 2 VCE Visual Communication Design Design Elements and Principles.

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Client

Doug Brown, founder and director of Bayblue. Bayblue is a website and organisation dedicated to independent music, creativity, current issues and youth culture. The client, through Bayblue, has organised several live music events, promoted upcoming musicians and created an online discussion forum with a focus on such issues. Bayblue's latest project is a summer music festival to be situated around Balnarring, Victoria in January, intended to cater for around 7000 people.

Communication needs

The client requires an information booklet to be accessed via online or as a hardcopy distributed at the festival, and a free-standing menu board to be used at a small food stall.

Audience

The audience at the music festival consists of males and females, aged between 15 and 35, who are interested in alternative contemporary culture, live music and preservation of the environment. They are predominantly well educated and from a middle-class socioeconomic background. They live mainly in Victoria due to the location of the festival, although the Bayblue Music Festival is dedicated to Australian music and the website itself is aimed at the youth of Australia.

Presentation 1:

Information booklet available on line or to be collected on arrival at the festival.

Purpose

To inform the audience of the festival's rules, events and features. To identify and promote the corporate identity of the organisation and website through the use of a logo and advertising.

Audience

People attending the festival (as stated above).

Context

The information booklet will be available online prior to the event or distributed to each person as they arrive at the festival. It will provide them with details of the festival and double as a souvenir.

Expectations and constraints

The booklet should include information about the organisation and its website, featuring contact details and web link. Also included should be general information and details of the festival. The booklet should feature information and photographs of performing artists.

The client insists that the booklet should contain details of the festival that covers: camping information, events timetable and rules. The booklet must also feature a brief biographic paragraph and photograph of each of the headlining performing artists. The booklet must include the fact that the festival is to be located on a private, 90-acre property in Merrick/Balnarring, Victoria, between 6 and 8 January, and list conﬁrmed local headlining artists that include Dan Slayer, Tosh Laws, Tex and the True Believers.

For promotional reasons, the client insists that the booklet must contain basic information regarding the organisation and website, including its aims, features and contact details. The client also requests that a new logo be designed and featured repeatedly within the booklet.

Research will be undertaken into existing festival promotional material from similar festivals such as the Falls and Port Fairy Folk Festivals. A number of options will be trialled during the design process.

Proposed presentation format

Either online or as a booklet is to be printed in four-colour process.

Presentation 2:

Menu board with new logo for a small vegetarian food stall, located within the festival grounds.

Purpose

To attract the target audience to the food stall. To inform the audience of the selection of foods available. To promote the identity of the larger organisation - Bayblue - through inclusion of the logo.

Audience

People attending the festival who prefer vegetarian and/or vegan food.

Context

A menu board to be displayed outside at the Bayblue food stall at the festival.

Expectations and constraints

The menu board should contain text that is clear and legible and attract attention from a distance. The designer must consider the best location on the stall for the sign. The menu must include both the new logo of the organisation along with a new logo design for the stall itself. The board must be durable, weatherproof and fixed to the ground safely.

During the design process the designer will need to explore the possible materials for the construction of the actual menu board. Imagery and colour options explored should reﬂect the wholesome, vegetarian, natural feel of the food stall. It will also need to include a list of foods to be sold and prices.

Proposed presentation format

The menu board design may be presented as a three-dimensional model or concept presentation drawing.

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Advice for teachers - Visual Communication Design

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Doug Brown, founder and director of Bayblue. Bayblue is a website and organisation dedicated to independent music, creativity, current issues and youth culture. The client, through Bayblue, has organised several live music events, promoted upcoming musicians and created an online discussion forum with a focus on such issues.

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SCAMPER Explanation: https://www.youtube.com/watch?v=ru9-74qLXAo

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(Makes fun of graphic designers whilst being a graphic designer - @elliotisacoolguy)

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elliotisacoolguy print store by elliot ulm graphic design humor poster shop

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Designer on YouTube, takes you through their whole process, also does a lot of merch design for some of your favourite artists - @kellauren. https://www.youtube.com/kellauren

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Makes you super pretty colour palettes, can pick colour palettes from your photos.

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Coolors - The super fast color palettes generator!

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Generate or browse beautiful color combinations for your designs.

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If you have the adobe suite, you can download all of these fonts for free.

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Adobe Fonts partners with the world's leading type foundries to bring thousands of beautiful fonts to designers every day. No need to worry about licensing, and you can use fonts from Adobe Fonts on the web or in desktop applications.

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Free downloadable icons - DON'T YOU DARE USE THESE WITHOUT REFERENCING!!

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iconmonstr - Free simple icons for your next project

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Design prompt generator to spark some brief ideas.

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What is this?

Briefz.biz spits out ideas for creative projects. Want to start a design project, but don't know where to start? Tap 🪄 the magic button and - poof! ✨ - you've got a brief.

Ok, but why?

Yeah, kinda niche, right? When I first started my design career, my biggest hurdle was deciding what to design. I wanted to create this little generator as a way for fellow designers to quickly find some inspiration and just do the damn thing.

I built the original Briefz.biz in 2016 on Github Pages, and didn't think much of it after I put it out into the world. Little did I know, years later, it would be featured in blog posts, tweets, and TikToks. It's been incredible to see people create work based on these briefs. I finally decided to move Briefz over to Webflow, where it's easier for me to maintain and add new briefs and features. So stay tuned, more to come!

Wait - who are you?

✌️ I'm Austin, a freelance designer living and working in Chicago. I love working with emerging brands, helping them better tell their story through design.
🙂 Super Cult Design💌 Email me🤝 Let's connect

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Briefz.Biz - A Simple Design Brief Generator

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Briefz.biz spits out ideas for creative projects. Want to start a design project, but don't know where to start? Tap 🪄 the magic button and - poof! ✨ - you've got a brief. Yeah, kinda niche, right? When I first started my design career, my biggest hurdle was deciding what to design.

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Game that helps you master the pen tool in Adobe

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Handwritten font designer. https://www.neilsecretario.com/about

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Crazy, colourful, childlike illustrative design. https://mike-perry-studio.squarespace.com/

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Hand lettering and marketing designer. https://www.homsweethom.com/

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Vector artist. https://www.pavlovvisuals.com/

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Retro-inspired print designer. https://www.instagram.com/samlarson/

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Vibrant, 3D-looking typography. https://www.instagram.com/velvetspectrum/?hl=en

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Playful, colourful illustrator. https://www.lottanieminen.com/

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Learn how aesthetic, function, social, cultural, technological, economic, financial and environmental factors influence and shape designs.

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Visual communications and media products are commercial products that are largely intended to engage, inform and/ or entertain people. The people to whom these products are directed towards are called a target audience. There are many different kinds of target audiences. They are classified (segmented) into different groups. Trend researchers, marketers, designers and media producers study the exact needs and preferences of different target audiences. When they understand what interests their audiences they can engage them. This page will show students how the target market is segmented into different groups and how they can be described.

An audienceis the group of people to which a product, media product or visual communication is intended to attract or appeal to. Audience is also referred to as the target audienceor specific target audience.

Audience refers to the people who are intended to see a visual communication or use a product. Different people like different products. They are also attracted to different visual communications. Designers appeal to different audiences when they design visual communications.

In most cases an audience and a clientare not the same. The client is the person commissioning or requesting a design, an audience are the people who will use or see it.

In Visual Communication Design we have to be able to identifyand describean audience when we analyseand create visual communications.

An audience is described by referring to specific points of differencebetween people. These points of difference are organised into categories, known as audience characteristics.

Students must be familiar with all of the characteristics to identify and discuss an audience. This page is organised into the following categories of audience characteristics. These groups are;

Demographics= classification of people according to facts about an audience.

Psychographics= classification of people according to attitudes and psychological criteria.

(For Media only)

1. Experiences= media people have experienced in a relevant genre in the past.

2. Expectations= how people might expect to be effected by a media product.

There are six audience characteristics for describing and audience in VCD.

These are; Age, gender, culture, location, socio-economic level and interests.

Students should always choose audience characteristics that they can clearly see there is evidence for in a visual communication. Students do not have to discuss all of the characteristics. Usually one demographic and one psychographic characteristic is sufficient.

Students should be careful not to thinkthey are choosing two characteristics, but are actually choosing one. For example; if one describes an audience by saying that the audience;

'likes music and they are interested in the outdoors',

then one has only chosen one characteristic: Interests. Students must identify another characteristic if they are asked for two. One could say;

'The visual communication is non gender specific as it targeted to males and females (gender)andpeople who are interested in both music and the outdoors' (interests).

Let's examine the audience characteristics for aToyota Priushybrid car. What do we know about it? It is an economical car so it isn't so sporty, has a good luggage area and creates minimal exhaust emissions. Let's examine each characteristic one by one. Ask is it relevant. If so, how/ why?

Age - yes -young parents- Why? Because it has a large luggage area and isn't very sporty.

Gender - maybe -females- Why? Because it focusses on practicality rather than performance.

Culture - no - Why? It is not biassed to any national or religious group.

Location - yes -urban- Why? Because is doesn't have the performance of a long distance car and can only carry light loads conveniently.

Socioeconomic - maybe -mid range socioeconomic- Why? Because it is a mid priced car.

Interests, beliefs - yes -people who are interested in saving the earth- Why? Because a hybrid car makes less pollution.

So we define the audience for a Toyota Prius as;

Young parents, mainly mothers, living in the city who are interested in caring for the environment.

Charles and Ray Eames moulded plastic side chair.

(https://www.hermanmiller.com/content/dam/hmicom/ page_assets/products/eames_molded_plastic_chairs/mh_prd_ovw_ eames_molded_plastic_chairs.jpg.rendition.1920.1920.jpg)

Using evidence from the picture of the Eames chair, describe the target audience, referring to at least two audience characteristics.

The moulded plastic side chair designed by Charles and Ray Eames would be aimed for young to middle aged adults as it required an upright seating position. It is made to appeal to both men and women as the colour range, reflecting the natural colours of materials do not draw strong associations with any particular gender. People purchasing this kind of seating would have a keen interest in design and interiors as the paired back and exposed wood and steel structure beneath the seat is quite noticeable and may compliment a home or office where form as well as function are valued in preference to comfort.

Poster from the movie 'Divergent', Burger, 2014.

(https://m.media-amazon.com/images/M/MV5BMTYxMzYwO DE4OV5BMl5BanBnXkFtZTgwNDE5MzE2MDE @._V1_.jpg)

Describe the target audience for the movie 'Divergent'. In your answer refer to the characters and events in the film.

The Movie 'Divergent', a hybrid of dystopian, action and science fiction genres, is made to appeal to people from their mid teens to adultsas the story is about a young woman facing challenges as she chooses her destiny in a post apocalyptic world. It would engage a male and female audience, as the action and romance themes are present and each of the main characters act with similar power and prominence in the story. However, the use of a strong, independent female lead ('Tris) who overcomes challenges thrown at her by male characters may appeal to females more as they will be pleased to identify with her.

Audiences may have experienced other movies in this genre such as the 'Hunger Games' series. They may also be teens or young adults who are experiencing finding their true identity in life and identify with the themes of choice and destiny depicted.

Once engaged in the story, audiences would expect a fast paced, energetic ride that builds on their previous movie experiences. They may hope the two main characters will eventually find love and that 'Tris will give it all, to overcome the huge physical and mental challenges she faces 'Dauntless' and rise to become the victor over evil.

The term demographics refers to facts about an audience. These are measurable details that characterise an audience apart from their attitudes, beliefs and interests.

We rarely find that a product is aimed at people of one age. It is more likely that they are aimed at people within a range of ages. Some examples of age ranges are;

0-3,

10-15,

18-25,

30-50,

over fifties.

We can also refer to the stage of life people are in. Stages of life influences purchasing decisions. People want products that define and suit their stage of life. Some examples of stages of life are;

toddlers,

preschoolers,

tweens,

teens,

Yuppies,

first time mothers

Grey nomads

People can also be categorised by the generation into which they were born. Dividing the market by generations looks at the social, political and economic influences that formed people's attitudes, beliefs and values.

Dividing a market by generation is not so popular, or precise now as people do not agree on what name to give the current generation of kids, nor which years actually define generations for those when born into the digital age. Generations just don't seem to last as long as they used to now. Some generation names are;

Males and females often have different purchasing preferences. Visual communications and products can be designed for boys or men, girls or women or for both (gender inclusive).

Some products are aimed specifically at males or females. Look for image, colours, textures, type or shapes that seem to appeal more to one specific gender.

Many other products are designed for both genders. Look for colours especially that will appeal to men and women together.

The term psychographics refers to characteristics of an audience member's personality including their interests, beliefs, values, life-styles. These characteristics exist within a person's psyche so they may not be visible to an outsider. However, clues to psychographics of target audiences are visible in their purchasing profiles, behaviour, hobbies and their activities.

Peoples' interests and life-styles influence their purchasing preferences. When designers appeal to audience's interests, opinions and lifestyles they can do so both literally, and metaphorically. For example, an advertisement for a tents would be targeted to people who like outdoors actually go camping. This appeals to the audience's lifestyle. But an advertisement for expensive Swiss watch with an image depicting an elite fighter jet pilot may not be aimed at pilots as shown, but at business people who believe that values such as competition, independence and achievement are important for success.

Designers may also appeal to people's desires and intentions. An advertisement for a water efficient shower head or fuel efficient, hybrid car appeals to a consumer's desire to minimise their impact on the earth's resources.

Interests are a common characteristic to differentiate audience members by. Identify the topic or images depicted in a visual communication and discuss how they appeal to people with certain interests.

Common interests include;

The ways people live their lives also influences purchasing decisions. Some people like breakfast and coffee out, others like to eat it at home. Some like to get up early to rise early for exercise, some are night owls. Visual communications appeal to a range of preferences.

The things people think about issues has a significant effect on the way they read visual communications. Audience members political or other ideological preferences affects their choices. Does everybody who has a four wheel drive buy them because they go off road frequently? Of course not but their purchase reflects their desire.

There are two further characteristics that are essential to discussing your audience in Media. These are an audiences' experiences and their expectations. The discussion of these two points is closely linked to the genre of the media product.

Put your
knowledge
to the test

Think you know what this page is about?

Take a shot at the quiz to see if you understand it well enough. Your results will be displayed once you complete the quiz.

Good luck!

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Visual communications and media products are commercial products that are largely intended to engage, inform and/ or entertain people. The people to whom these products are directed towards are called a target audience. There are many different kinds of target audiences. They are classified (segmented) into different groups.

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Find a full range of tasks to learn how to write a correctly formatted Brief for VCE Visual Communication Design.

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Good designers know and describe their client in a detailed profile. Important dimensions include the kind of business, the scope and location and their mission.

First, describe the kind of business your client is. Some kinds of businesses are:

anon-governmentorganisation (NGO) orcharity,

anonline, tech-based orinternetbased business,

afoodorbeveragemanufacturing industry,

a branch of alocal governmentorshire- festival organiser, etc.

Second, develop a clear understanding of the scope and size of their business. Give the location of the business. Some examples are;

Multi-national, catering to a global market,

Large, catering to the mass market,

Small or medium business, catering to a national or local market,

Boutique- catering to a small or niche market,

Old- an established business,

Young or new- a new initiative or 'start-up'.

Third, describe your clients' business mission or values. This involves capturing the businesses' overall aim. It's the reason why they exist. Some examples of a mission or values statement are;

to provide sustainable and recyclable packaging for the food industry,

to provide world wide and free access to news stories,

to ensure that more of the world's peoples are fed and nourished,

to celebrate cultural diversity and unite people through free events,

to increase safety in the work environment.

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Good designers know and describe their client in a detailed profile. Important dimensions include the kind of business, the scope and location and their mission. First, describe the kind of business your client is. Some kinds of businesses are: anon-governmentorganisation (NGO) orcharity, anonline, tech-based orinternetbased business, afoodorbeveragemanufacturing industry, a branch of alocal governmentorshire- festival organiser, etc.

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Design Fields-knowledge - Target Learning

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Learn distinguishing characteristics for Communication, Industrial and Environmental design fields for VCE Visual Communication Design.

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A written brief identifies a problem. That is, something that will be solved with the arrival of a new design. The problem is also defined in a communication need. Potential design solutions are usually constrained by a number of things. Good design is good because it answers a problem in regard to its constraints. This section looks at explaining how this works.

The term constraint refers to a limit placed on the design of a visual communication. Whilst having limits might seem negative for creativity, clearly articulated targets provide clarity and direction for a designer and ensure they meet client needs.

Constraints usually apply to the functional or structural aspects of a design. This is easy to understand for industrial design. For example, a brief for a chair might include constraints like be able to fit in a certain size space, be foldable, have four legs or weigh less than 3kg. Each of these refer to structural or functional characteristics of the design. However, 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, type and colours mandated in a style guide, the size, format or paper stock. Constraints refers to characteristics that can be measured.

The term expectations is similar, and is often used withconstraints - a brief may contain a number of constraints and expectations for a designer. Expectations regarding the function of a design may include targets a design should to meet. For example; a high-chair is expected to be safe and painted with non-toxic paints. A poster for a music event is expected to be read from a distance. Directions for a flat-packed piece of furniture should be easy to understand regardless of a purchaser's language. Likewise, a website is expected to be easy to navigate for first time users and a concert hall is expected to have adequate disabled access.

Expectations also refers to the desires of a client regarding the aesthetic qualities or style of a design. Expectations refer to how a design should look. There are adjectives that describe aesthetic qualities and considerations. Words such as vibrant, colourful, futuristic, minimal, retro, childish, sophisticated, homely, hand-made, for example all describe the aesthetic qualities or style of a design. A client may want a design to reflect certain aesthetic characteristics. These kinds of expectations refer to style and as such can't be measured but evaluated with experience.

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A written brief identifies a problem. That is, something that will be solved with the arrival of a new design. The problem is also defined in a communication need. Potential design solutions are usually constrained by a number of things. Good design is good because it answers a problem in regard to its constraints.

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Find out about in contexts the location of graphics in Visual Communication Design. Learn how context shapes design.

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FAT CAT SPLIT!

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Visual communication communicates through visual language. Another term to mean visual language is visual literacy. Languages transmit meaning using components. English uses letters, sounds and words. Mathematics uses numbers and symbols. Visual literacy uses various components to form compositions. These components, without which a design cannot exist, are called the elements of design.

Students may notice that different senior high school subjects use similar but different lists of elements of design. Art, Studio Arts, Visual Communication Design, Product Design and Technology each determine their own lists. This page refers to the elements of design for VCE Visual Communication Design.

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Design elements-knowledge - Target Learning

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Visual communication communicates through visual language. Another term to mean visual language is visual literacy. Languages transmit meaning using components. English uses letters, sounds and words. Mathematics uses numbers and symbols. Visual literacy uses various components to form compositions. These components, without which a design cannot exist, are called the elements of design.

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CRazy PRoBlem! COPS Find Ham.

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Visual communication communicates through visual language. Another term to mean visual language is visual literacy. Languages transmit meaning using principles of communication. English uses grammatical structure - called syntax. Mathematics uses numerical structure. Visual literacy uses various principles in creating two and three-dimensional compositions. These principles of selection and arrangement of components, without which a design cannot exist, are called the principles of design.

Students may notice that different senior high school subjects use similar but different lists of principles of design. Art, Studio Arts, Visual Communication Design, Product Design and Technology each determine their own lists. This page refers to the elements of design for VCE Visual Communication Design.

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Design principles-knowledge - Target Learning

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Visual communication communicates through visual language. Another term to mean visual language is visual literacy. Languages transmit meaning using principles of communication. English uses grammatical structure - called syntax. Mathematics uses numerical structure. Visual literacy uses various principles in creating two and three-dimensional compositions.

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The Design Process is a representation of design processes as they are used in the fields of visual communication. It does not take into consideration the many different ways studios and their designers work, but rather sets a model process to support students in the creation of visual communications. The stages of the design process are a guide both for the conception and realisation of design ideas and for discussion of the process of design in written analysis tasks.

As you can see, the diagram is formed around a circle. This is to indicate that the process is not linear but is cyclical and iterative. The word iterative means that students may work forwards and backwards in the process, re-visiting previous steps if required, as they develop and refine their designs. In fact once a design is finished and evaluated, it's often time to start again.

Underpinning the arrows around the diagram is the term Design Thinking. Creative, Critical and Reflective Design Thinking routines are both enabling and metacognitive and occur at any relevant stage of the design process.

Academics and business have studied the ways designers work in the hope that knowing how design is done well can be applied to other situations to improve efficiency. There are many models that describe this design process. Two leading models stem from design research in the United Kingdom.

Stuart Pugh (1929 - 9 October 1993) was a British product engineering designer. He created a ground breaking model for the design process that recognised that design was both linear (moving from top to bottom) and iterative (each step of the process has a circular dimension).

Following a wide study of eleven successful businesses done in 2007 the UK Design Council formed a model known as the Double Diamond. This model shows four stages of the design process. The purpose for showing you this is to highlight two concepts. The first is divergent and convergent thinking and the second is a term known as the fuzzy front end.

This representation of the design process is the uses two diamond shapes. If we think of them like a map reading from left to right, you can clearly see that the space enlarged and contracts twice. The process of discovery(first stage) is where a designer finds out as much as possible about the nature of a problem and the many possible ways in which it could be solved using divergent thinking. However, in the definestage (second stage), they distil their ideas and concepts in order to present one or two concepts to their client for review and selection. This usesconvergentthinking. Once preferred ideas are identified in the central red dot, developmentof concepts (third stage) once again uses divergent thinking. The final stage, deliver(fourth stage) is once again a time for convergent thinking.

The second aspect I wished to draw attention to is the fuzzy front end. This is a term to describe the way designers work to discoverand definea problem during the writing of a brief. One limitation of the VCAA design process is that it suggests that a brief may be formed at the commencement of the design process, when it be drafted during a process of discovery. The Double Diamond illustrates this well.

Our VCE VCD Design Process is shown with a blue circle. There are six staged of this design process. The dotted lines between earlier stages allow for movement forward and backward, as designs are developed and the communication need is re-framed. This model also shows the role of design thinking. Students of VCD must use this model.

Design Process by Stuart Pugh.

(Redrawn from; https://www.designcouncil.org.uk/sites/default/files/asset/ document/ElevenLessons_Design_Council%20(2).pdf)

The UK Design Council 'Double Diamond' by Richard Eisermann, 2007-8 redefined the way design is known.

(Redrawn from; https://www.designcouncil.org.uk/sites/default/files/asset/ document/ElevenLessons_Design_Council%20(2).pdf)

The VCE Visual Communication Design Design Process clearly shows the role of Design Thinking in this process.

(VCAA, 2018, Visual Communication Design Study Design, Figure 1: A process for creating visual communication. (p 11). VCAA, Melbourne. Used with permission.)

A brief is a document that identifies a design need/s. They come in many forms including a document from a client, a list written by the designer after talking to a client or an email from a client. A brief in VCD identifies and describes;

the client

the communication need/s (what is to be designed)

the anticipated target audience

the purpose and context for the design

any constraints or expectations from the client

the proposed presentation (or delivery) format.

A brief in VCD may be generated by the teacher, a client or the student.

Creative, Critical and Reflective Thinking strategies are used to;

Clarifya design problem by identifying and describing one (or two) communication needs

Elaborateon the communication needs by identifying and describing

the target audience

the purpose

the context

relevant constraints that apply and content that is required for the communication need. Expectations for how the solution to the communication need should be formed

The proposed presentation format for submission

In the Research stage students gather inspiration and analyse and interpret information. Desk and field research is conducted into the target audience using interviews and surveys for target audience profiling. Students collect images of existing products. They make observational drawings of their forms.

Students should use a range of sources for their research including; interviews, surveys, field trips, site visits, internet searches, trends on social media, libraries.

Critical thinking is used to sort and analyse information gained. Students annotate and sketch beside their research and drawings.

Research for Visual Communication Design involves;

finding out about a target audience

benchmarking existing products

observational drawing

Students work through these three phases as they develop informative research for communication needs.

Creative, Critical and Reflective Thinking strategies are used to

guide investigation around a expanding on a communication need

analyse and evaluate information

sort and classify information to direct the Design Process with relevance to the brief

synthesiseideas and key features of designs. This can be achieved by;

sketching and combining images and ideas

sketching relevant parts of images and ideas

cutting and combining ideas in new ways or contexts

analysing colours in swatches, colour schemes

analysing type and layout by annotating type anatomy and components of a grid

reflect on how similar design problems may have been or have not been solved successfully by others

find links that exist between designs made in different locations, cultures, historical periods, artistic styles or design fields

predict the challenges that might lie ahead of us and what might need to be done to solve them

Identify the kinds of research being undertaken (Desk, field, qualitative, quantitative, primary, secondary)

Identify, describe, analyse and evaluate researchincluding;

aesthetic and functional qualities and considerations

effectiveness in engaging and maintaining the interest of the target audience

effectiveness in their present role including purpose and context

relationships with environmental, technological, economic, social, historical, stylistic factors that shape design

how they may contribute to the development of ideas for the present communication need

Link areas of research

Structure,sort and categoriseresearch

Predict your process - suggest and direct where your further exploration could lead.Write a paragraph statement that explains what you have learnt from your research and describe the possible design directions you might take.

Explain the synthesis you have made

Link observational drawing with research

Reference all contentobserving trademark, copyright and legal obligations.

Students synthesise ideas and information found in the Research stage and use visualisation drawing methods to draw a wide range of initial ideas in response to the communication needs in the brief. Students use line drawing to make ideas visible quickly.

Students generate a range of approaches to satisfying the communication needs.

Creative thinking techniques are used to expand the range of ideas. Reflective thinking is used to document the creative process.

Students find and document links between their ideas and their research. They note how they could be extended in the development stage.

Generation of ideas is intended to expand ones ideas around the brief. Critical and evaluative thinking are not the focus of this stage.

Critical Thinking helps synthesise research material by incorporating, combining, eliminating, changing and/ or adapting key features of existing designs

Creative Thinking helps stimulate a wide range of approaches to visualising new ideas. Creative thinking strategies are also used to re-invigorate or broaden the process of visualising ideas divergently.

Reflective Thinking enables the;

identification of features on designs

discussion of how they may/ may not contribute to the design journey

evaluation of ideas as potential for meeting the needs in the brief.

Describe, analyse, evaluate and reflect on ideas in relation to the brief with this simple checklist about key ideas you have made;

how well does this appeal to my target audience?

how effectively does it meet the purpose in the brief?

how effectively would it suit the proposed context?

in what ways does it address the constraints in the brief?

does it have potential to be developed further? If so, how?

Direct your Design Process by sign-posting and further exploration

Identify Design Thinking strategies used

Explain connections between your ideas and your research

Journal your Design Process

Critical thinking routines are used to help students select their preferred ideas.

Creative thinking routines support students as they use a range of two and three-dimensional, manual and digital methods, materials and media to develop the form and function of ideas.

Design elements and principles are also selected and applied creatively to develop the aesthetics of concepts.

Students may begin to incorporate typographic, layout and/ or technical drawing conventions into their work during Development of concepts.

Critical thinking is used to survey and evaluate concepts against the brief. Reflective thinking is used to document the creative process.

In the SAT (in Year 12) a pitch is used for students to present ideas and test them with their peers.

Creative Thinking is used to drive further innovation by broadening approaches and sparking new ideas.

Critical Thinking routines are used as mechanisms from which useful feed back can be gained to support the evaluation of designs made. It also supports synthesis between ideas and research by sparking innovative hybrid ideas that may satisfy a communication need more efficiently.

Reflective Thinking used to;

consider the suitability of concepts from a variety of perspectives

as a framework to progressively record the analysis and justification of design decisions leading to the selection of preferred concepts for Refinement

to frame reflection on the use of the Design Process in a design journey and evaluate progress during various phases of development

to consider and expand on feedback leading to the improvement of design concepts.

Describethe functional and aesthetic qualities of Elements and Principles of Design to support the purpose of the visual communication

Describe,analyse,evaluateandreflecton the Development of Concepts in relation to the Brief

Linkareas of development and synthesis

Documentthinking from different perspectives

Gather evidenceto support and reject concepts

Documentandprovide reasons for selection of preferred concepts in relation to the brief

IdentifyDesign Thinking strategies used

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Critical thinking is used to process feedback on the effectiveness of concepts to communicate ideas contained in the brief and to select preferred concept/s.

Students apply conventions relevant to the design field/s, methods and presentations format/s.

Students complete components of multi-part presentations in Refinement, prior to designing and constructing these presentations.

Modifications are made to mock-ups to improve them based on evidence gained from testing in simulated contexts. Reflective thinking is used to document the creative process.

Creative and Critical Thinking are used in similar ways to those used for Development of Concepts, however, the orientation of thinking is altered as the Refinement phase is one of convergent thinking.

Reflective Thinking drives the process of describing, evaluating and justifying design decisions against the communication needs identified in the brief.

Describe,analyse,evaluateandreflecton the refinement in relation to the brief

Linkareas of refinement and synthesis

Documentthinking from different perspectives

Reflecton refinement of concepts in relation to the brief

IdentifyDesign Thinking strategies used

Documentmethods of testing prototypes and mock-ups

Evaluatethe effectiveness of mock-ups following testing, referring to the in/ appropriate selections of materials, methods, media in relation to the functional and aesthetic requirements in the brief

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Students design visual communications using the presentation drawing methods and applying conventions relating to the presentation formats identified in the brief.

Multi-part presentation formats are carefully designed and constructed.

Constraints of the brief are satisfied and in final presentations.

Critical and reflective thinking is used to respond to feedback and evaluate the creative process.

Reflective Thinking is used to consider and evaluate feedback received during and after the presentation of mock-ups. Reflection is required to determine necessary changes that need to be made to refined concepts prior to the Resolution of Presentations.

These reflections will be identified and described in detailed written annotations.

Describe, analyse, evaluate and reflect on the refinement in relation to the brief

Link areas of refinement and synthesis

Document thinking from different perspectives

Explain and justify design decisions referring to Design Elements and Principles and other terminology

Reflect on refinement of concepts in relation to the brief

Document and provide reasons for selection of preferred concepts in relation to the brief

Identify Design Thinking strategies used

Document methods of testing prototypes and mock-ups

Evaluate the effectiveness of mock-ups following testing, referring to the in/ appropriate selections of materials, methods, media in relation to the functional and aesthetic requirements in the brief

Journal and evaluate the use of processes referring to the challenges and opportunities faced whilst producing mock-ups

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Design process-knowledge - Target Learning

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The Design Process is a representation of design processes as they are used in the fields of visual communication. It does not take into consideration the many different ways studios and their designers work, but rather sets a model process to support students in the creation of visual communications.

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Design thinking organises the ways designers analyse and define problems, challenge assumptions, expand their ideas, evaluate their work and map future directions. Designers often use routines or strategies to support their design thinking. Design thinking supports divergent and convergent thinking. There are three phases of design thinking in Visual Communication Design. These are creative thinking, critical thinking and reflective thinking.

When designing a new product there is an urge to converge on a solution. However the Design Process in Visual Communication Design requires students to think and propose different ideas. Design Thinking uses structures for thinking and for making students' thinking visible. There are three phases for Design Thinking in VCD. These are referred to as creative, critical and reflective thinking. Thy are largely metacognitive skills that assist students to think about their thinking. Using a metacognitive approach is like standing next to oneself and looking at one's work from the point of view of an observer. It allows one to plan and evaluate one's path as one would do for another.
Acknowledgements
The content on this page and the three linked pages; Creative Thinking, Critical Thinking and Reflective thinking would not be possible without the work on thinking for schools by the Harvard Graduate School of Education and the book Making Thinking Visible by Ritchhart, Church and Morrison. Much of this work supports the Victorian Government's education department's High Impact Teaching Strategies.

Cultures of Thinking. Harvard Graduate School of Education. Click on the image to visit this site.

Ritchhart, R, Church, M, Morrison, K 2011, Making Thinking Visible: How to Promote Engagement, Understanding, and Independence for All Learners, John Wiley and Sons, New Jersey.

High Impact Teaching Strategies, Victorian State Government Department of Education and Training. Click on the image to visit this site.

The Victorian government Department of Education and Training (2017), have identified ten High Impact Teaching Strategies for Excellence in Teaching and Learning. The intention of this document is to explain techniques that improve educational outcomes for students.

Metacognitive strategies are shown to have the biggest 'effect size' (learning improvement) for students. The document describes metacognitive strategies (p9) as;

"Metacognitive strategies teach students to think about their own thinking. When students become aware of the learning process, they gain control over their learning. Metacognition extends to self-regulation, or managing one's own motivation toward learning. Metacognitive activities can include planning how to approach learning tasks, evaluating progress, and monitoring comprehension."

Teachers can visit this document by clicking on the image at above right.

Visual Communication Design requires students to manage their pathway through the Design Process. This include working creatively, evaluating, setting goals for future improvement and describing what steps may be needed to reach them. Whilst creativity has traditionally been thought to be spontaneous, design is a conscious enterprise that requires self management in order to be innovative and answer precisely the design need required by ones' client. Good design is no accident!

Our study identifies three kinds of Design Thinking. They are used consistently during the Design Process.

Creative thinking enables a creative flow of new ideas. Is not critical nor evaluating. It seeks to enable as many, varied approaches to defining and solving a design problem.

Critical thinkinginvolves collecting data about ideas and making it visible for evaluation against criteria and/ or constraints set in a brief.It uses strategies to help designers challenge assumptions and consider options from different perspectives. It enables designers to pin-point strengths and weaknesses in ideas and to plot their course for developing further outcomes. Critical thinking may also stimulate entirely new ideas.

Reflective thinking is metacognitive thinking. It enables the designer to examine their working practices and investigate the effectiveness of their problem-solving strategies. It enables designers to find links between theirs and others' work. Through reflection, the designer may reconsider initial understandings of design problems in the brief and re-frame them.

For official descriptions of design thinking please see the ' Cross Study Specifications' in the VCD Study Design.

Creative Thinking strategies stimulate students to open up new possibilities.

Creative thinking is an investigative, exploratory approach to design. An explorer for example, didn't know what exciting lands they were going to find. Scary really. One never know where one's path will lead. It requires a curious, open-minded approach where one focuses on the problem to be solved not on previous solutions.

Students using Creative Thinking should critical of their ideas when they are drawing. If they don't like a sketch they have made, make a new one. And remember, students should keep all of their work, they need it as part of their design journey.

Mind mapping

See, Think, Wonder

Visual research

Consumer audience profiles

Scrapbooking

Brainstorming

Exquisite corps

Forced Associations

What if someone else was designing this?

Action verbs

SCAMPER

Time limits

Least amount of shapes or forms

Work in a completely different way

Sprinting

Alternative grids

Kit of parts

Method stations

Deconstruction and reconstruction

Students use one or more of the routines at left to stimulate new ideas. An open mind is required to think divergently. Students may be asked to work on routines as a class or to select one or more for independent generation of ideas.

Students may find routines a bit threatening to their creative process at first. This is driven by a perceived need to converge on preferred approaches. Students should try to suspend judgement to allow ideas to flow freely.

Students are required to learn one or two of the routines at left and be able to identify and demonstrate them in examinations.

Students may be asked how a designer responded to a brief and began their design process. Students describe the role of Creative Thinking routines that were used to enable innovation.

Set out Creative Thinking pages clearly and describe how each phase of the routine being used to enable new designs. Use hierarchy on pages to create interest and engage the viewer. Remember, this isn't an add-on but a crucial stage so allow appropriate space in the folio. Make annotations in real time as the work is being done.

For further information on Creative Thinking click on the link at right.

Critical Thinking strategies are used gather data about designs and evaluate to ensure they meet the requirements of communication needs. This then enables students to plan future directions for the improvement of their designs.

Creative Thinking strategies assist students to go deeper into ideas and concepts by questioning, testing, clarifying, analysing, evaluating, prioritising and drawing conclusions about their work.

There are two phases to Critical Thinking. The first is to gather data on ideas. The second phase is to signpost future directions. Both of these two phases can be done individually or collaboratively.

Critical Thinking is used to challenge assumptions that may colour designers' points of view and prevent the flow of ideas. It is also used to get different perspectives and identify strengths and weaknesses.

Although Critical Thinking is for analysing ideas, it may also stimulate completely new approaches to satisfying communication needs.

Pugh or Prioritisation Matrix

Four Field Matrix

Compas Points

PMI

De Bono's Six Thinking Hats

Other role playing games

Two Stars and a Wish

SWOT analysis

POOCH

R.E.D

Critical thinking lens

Students use one or more of the routines shown at left. They make separate, labeled pages to document the various phases of the routine. They also photocopy or scan in pictures of design proposals to these pages so reference can be made to specific parts of designs.

Students may be required to identify and demonstrate Critical Thinking skills and routines during examinations.

Students may be asked to describe how a designer was able to evaluate their work at various stages of the Design Process. How Critical Thinking was used as a tool for improvement of designs may be considered.

Set out and label Critical Thinking pages clearly and describe the stages of routines in full. Describe features of one's own designs using design language from the study. Consider the designs from different points of view and describe strategies for improvement using meeting the needs of the brief as your guide. Do not describe likes and dislikes but instead, relate designs to the brief. Effort may need to be made to bring designs back on track - this is all great stuff for annotations of student work during the design process.

For further information on Critical Thinking click on the link at right.

Reflective Thinking strategies help students reflect on their design journey and use knowledge to refocus their pathway to satisfying communication needs in accordance with requirements of a brief.

Reflection is a natural part of the creative process. Students and designers alike are constantly monitoring their ability to solve problems at hand. This monitoring (in one's head), this self regulation is what's know as metacognitive. When one is using metacognitive thinking one is thinking about one's thinking.

Reflective Thinking is used to examine one's work process and investigate the effectiveness of problem solving strategies. It is also used to find links between theirs and others' work.

Reflective Thinking enables the designer to review and reconsider initial understandings of design problems, re-frame them and propose future directions.

"I used to think, now I think"

Guided questions

"Tug for Truth"

Finding links between myself and other designers

Red light, Yellow light

Surveys

Interviews

Self-reflection

Journal and/ or diary writing

In addition, many of the Critical Thinking routines shown above provide data for reflection.

Although self reflection may be automatic and ongoing, students need to ensure they document their work process and its effectiveness at satisfying communication needs.

The strategies listed at left provide frameworks for reflection and recording ideas and changes in attitude and understanding. It is in the recording of changes that the value lies as once this is visible concrete reflection can be made.

Students make mock-ups and employ surveys and testing procedures to gather data to inform reflection and evaluation. A pitch may be used to consider designs from social, environmental or other points of view as well as measuring in respect to how well they answer the needs of the brief.

Suggestions for improvement are noted and a strategy for change is drafted.

Theory questions may ask how designers tested and evaluated their work prior to production. Students will be required to refer to one or more of the routines and explain how they were used to create data to enable the designer to reflect on a design's suitability.

A metacognitive approach is used to reflect on one's learning during the design process. Evidence and data is gained from a variety of perspectives, through surveys and tests. These are documented fully describing how others have been involved in one's reflective process.

Students use reflection to sign-post their next steps and future directions. 'Post its' are often useful to post reflective comments outside current annotations.

For further information on Reflective Thinking click on the link at right.

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Design Thinking-knowledge - Target Learning

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Design thinking organises the ways designers analyse and define problems, challenge assumptions, expand their ideas, evaluate their work and map future directions. Designers often use routines or strategies to support their design thinking. Design thinking supports divergent and convergent thinking. There are three phases of design thinking in Visual Communication Design.

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Learn how aesthetic, function, social, cultural, technological, economic, financial and environmental factors influence and shape designs.

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Learn how aesthetic, function, social, cultural, technological, economic, financial and environmental factors influence and shape designs.

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Find out about Intellectual Property, copyright, trademark, design registration and patent for Visual Communication Design.

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Find out about purposes the reasons why visual communications are made for use in Visual Communication Design.

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Drawing & Painting - The Virtual Instructor

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How To Draw in 2 Point Perspective - Product Design

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CDT G10/11 - Third Angle Orthographic Projection

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Design Bites - Getting to Know Your Audience

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Visual Communication Design Folio Flip-Through | FULL MARKS 2022

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Visual Communication Design Folio Tour (VCE) Top Designs 2020

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VCD Folio Flip-Through | Top Designs 2021 :)

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Often a question in an exam asks a student to write on a clearly identified aspect or part of a design. However, when asked to make a more comprehensive analysis of visual communications, it is sometimes hard to know exactly what to look at and discuss. Below is a range of categories that can be used to frame an investigation of visual communication. Use them to prompt an investigation;

Overview of the design

What is it? What need/ problemdoes it solve?

Who is thedesigner, date of design or production, the client, the producer?

Who is thetarget audience?

What is thepurpose? What is the function?

What is thecontextfor its sale, display and/ or use?

Aesthetic qualities

How do the Elements and Principlesof Design combine to create visual effects?

How and why are materials, methods, media, techniques and processes used for visual effect?

Functional characteristics

How are the Elements and Principlesof Design used to support the purpose and/ or function?

How are materials, methods, media, techniques and processes used to support the function

Factors that influence design
How havesocial(including political, historical, stylistic, religious, etc.),economic,technologicaland/ orenvironmentalfactors influenced designers' decision during designing the visual communication?

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Techniques for analysis-knowledge - Target Learning

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Often a question in an exam asks a student to write on a clearly identified aspect or part of a design. However, when asked to make a more comprehensive analysis of visual communications, it is sometimes hard to know exactly what to look at and discuss.

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architectural design 1: reacting to the context

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Specialists used in the design process for students of VCE VCD

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Learn how aesthetic, function, social, cultural, technological, economic, financial and environmental factors influence and shape designs.

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HOW TO DRAW ARCHITECTURAL ELEVATIONS FROM THE FLOOR PLAN.

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Learn how aesthetic, function, social, cultural, technological, economic, financial and environmental factors influence and shape designs.

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Architecture's ripple effect: Designing for big impact | Thomas Bryans | TEDxGuildford

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The BEST environment design EXERCISE for BEGINNERS

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The Power of Sketching in Visual Communication

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Drawing & Painting - The Virtual Instructor

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John Maeda: How art, technology and design inform creative leaders

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Unit 4 VCE Visual Communication Pitch (Andrew McCorkell)

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DESIGN SPRINT 2.0 - USER TESTING - AJ&Smart