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1. Design Fields
2. Design Process
3. Design Responsibilities

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A continual process throughout the stages of design

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Design and innovation play an essential role in today's business success through fueling an organization's future with creative ideas that in turn, will help maintain superiority in market competition. Investing in business ventures and start-up ideas are other reason for companies to focus on creative ideas and analyze their potential success in the market.

Designers, design managers and educators also need an evaluation process when selecting creative ideas or different design layouts for creative projects. In order to achieve the best output of the selection process, an evaluation methodology should be considered to make sure that the selected creative or design idea is the best choice to achieve the company's target.

Unlike evaluative business plans or marketing research which deal with statistics, numbers and/or charts, reviewing creative ideas is more complicated as it focuses on the potential success of initial starting ideas. The evaluation methods helps in reviewing a large number of ideas in order to reach the one that is most likely to succeed in the market.

The evaluation method ensures putting the right team in the selection process and understands the problems potentially inherent in a creative idea and seeks to correct them during the implementation process.

Design Evaluation Methods

Mainly, there are three methods that help in evaluating design ideas; pass-fail evaluation, evaluation matrix and SWOT analysis. These methods can be implemented individually or in a sequence-based number of steps on the number of creative ideas and the type of the evaluation required.

Pass-fail evaluation method

This is the first method and can be applied for evaluating large number of ideas based in a simple acceptance or rejection question. Before going into in-depth evaluation methods, this basic step allows eliminating the ideas that do not fit with the basic project requirements such as the budget and target audiences. This method allows reviewing large number of ideas in a short time due to its simple decision-making process based on prime criteria. The criteria can include questions such as:

Does the idea comply with company strategy? (Yes/No)

Does it talk the company target audience? (Yes/No)

Does the idea budget acceptable? (Yes/No)

Although there can be a large number of ideas reviewed in this method, accurate evaluations should be taken into consideration as a priority in order to avoid eliminating good ideas with potential success possibility.

Evaluation Matrix

The ideas that pass through the first method go through the evaluation matrix method. In some cases, the submitted ideas for acceptance are just a few ideas, then when submitted to the evaluation process, the reviewers can skip the first methods and transition directly to this step.

In this method, the reviewers compare the ideas with a specific matrix or set of criteria. The criteria can includes the following:

The idea contribution in company's overall strategic outcome

The idea's potential impact

Expected stakeholders

Expected budget to apply the idea

Timelines to implement the idea

A specified score is given to each criterion. For example the idea contribution in company's strategic outcome can include the following score set:

Score 0: No expected contribution in the strategic outcome

Score 1: Direct contribution in one strategic outcomes

Score 2: Direct contribution in two strategic outcomes

Score 3: Direct contribution in three strategic outcomes

Score 4: Direct contribution in four or more strategic outcomes

Score 5: Multiple contribution in the organization's wide strategic outcomes

The comparison factors reflect the project requirement using a score rate. This score measures the potential success of the idea based on a number of factors. After the evaluation process is accomplished, a total score number is assigned to each idea. Each evaluator provides feedback about the idea, which can also be used to improve it.

SWOT analysis

The SWOT analysis refers to the strengths, weaknesses, opportunities and threats of the idea as projected into the marketplace. This type of evaluation seeks to extend the reviewer vision to evaluate the idea based on the four factors, which predicts the potential success of the idea in the market based on the market related factors.

This analysis stage helps evaluating the idea based on the four SWOT factors such as questions to analyze idea's strengths:

What are the idea's advantages?

What can the idea be successful in?

What are the current existing idea resources?

How others may see the strength of the idea?

Questions to analyze the idea's weaknesses:

How can the idea can be improved?

What does the idea lack in term of experience, team and resources?

What can prevent the idea from success?

How do others see the idea in terms of weaknesses?

Questions to analyze the idea's opportunities:

What opportunities does the idea have in the market?

How the company can help the idea to succeed?

Questions to analyze the idea's threats:

What are the obstacles that face the idea?

Do the idea weaknesses represent any thread to its success?

What are the financial problem that may face the idea?

Approval and Implementation

Once the ideas go through the above three methods, it becomes ready to be taken to the next stage and implemented in the development process. This stage starts with creating the wireframe for the product or the design in order to have visual shape for it. Once the wireframe is reviewed and approved by different reviewers, the idea can be put into a full production development process.

The above evaluation methods help review and select the design ideas that are most suitable for market competency in order to achieve the company goals. These evaluation methods can be used all together or in sequence starting from the first method until the third one or individually based on the company's objectives and/or requirements.
Related articles:

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Design and innovation play an essential role in today's business success through fueling an organization's future with creative ideas that in turn, will help maintain superiority in market competition. Investing in business ventures and start-up ideas are other reason for companies to focus on creative ideas and analyze their potential success in the market.

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PRIZE REVIEW: Hornsby Art Prize 2023

This month, Arts Law has reviewed the terms and conditions of the Hornsby Art Prize 2023 in Hornsby Shire Council, NSW Read the terms and... Read more about PRIZE REVIEW: Hornsby Art Prize 2023

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Arts Law Centre of Australia provides legal advice and information on a wide range of arts related legal and business matters

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The legal rights and responsibilities and designers continue to be an often misunderstood and treacherous area. Gillian Serisier looks at some of the basic distinctions between copyright and design registration when it comes to design IP.
For legitimate design retailers, wholesalers, agents and dealers the 'fake' designer market is an enormous problem, and that's putting it mildly. The Barcelona chair is perhaps the most ubiquitous of the knock-offs, but increased production speed means many designers find this year's model 'infringed' as fast as you can say 'press release'. Protecting designers and their designs is difficult, but steps can be taken to help safeguard this precious commodity.

Design registration and copyright legislation are complex aspects of the law and policing is even more difficult. As barrister James Samargis states: 'It is the law in Australia that three-dimensional products manufactured and offered for sale lose their copyright. Designers have nothing to hang their hat on unless they have the design registered before they have offered it for sale or manufactured 50 products.'

Within Australia, the most important distinction is that of copyright and design protection. Simply put: copyright protects the original of the design, but not the design in production. Copyright in Australia exists under Commonwealth legislation. It is not part of the common law, but it attaches automatically on the creation of a work in Australia. It does not require the © symbol to validate copyright, though this can operate as a deterrent. Once your design is industrially applied (more than 50 items), sold or hired, the product loses its copyright.

Design protection in Australia exists under Commonwealth legislation as well, but requires making an application (with drawings or photos) at IP Australia and the payment of a fee. If you register the design prior to offering for sale and manufacture, your rights are protected. If an industrial application (more than 50 items) has taken place, however, and there is no design registration applied for, then third parties are free to copy the design. And this is where timing becomes key. The protection must be applied for before production and offers for sale commence.

Unfortunately, many designers fail to address the law's requirements and design registration for industrialised products cannot be applied retroactively.

Registering a three-dimensional design is actually not that difficult. A lawyer or patent attorney will assist for around a thousand dollars. Alternatively, IP Australia [1] provides information online or as a hard copy with everything clearly outlined and explained. The process involves submitting simple line drawings, which permit all views of the object in the round. Any design feature unique to your design needs to be clearly illustrated. You complete a form identifying the product, the originator and the owner of the design and pay a fee of about $200. Registration can only be granted for new and distinctive designs compared with the prior art base. Once registered the design is protected for up to 10 years.

If there is a loss of rights due to the designer's failure to register the design, the Trade Practices Act of 1974 cannot be relied on as an avenue for recourse to protect the design. The Act's concern is with misleading and deceptive conduct towards the consumer ('A corporation shall not, in trade or commerce, engage in conduct that is misleading or deceptive or is likely to mislead or deceive.' ss52 and 53 provisions), not the presumed rights of the original designer. In 1982 the Full High Court case of Parkdale v Puxu determined that: 'The persons likely to be affected in the present case, the potential purchasers of a suite of furniture costing about $1500, would, if acting reasonably, look for a label, brand or mark if they were concerned to buy a suite of particular manufacture.' (At p199) [2]. In effect, the case showed that with correct labelling no deception was perpetrated despite the knock-off Parkdale couch being identical in appearance to the earlier Puxu couch. As stated above, the Act's concern is for the consumer, not the design.

The common law action of 'passing off' isn't going to offer much help either. 'The tort of passing off is a common law action used to prevent trader A from misusing trader B's [3] goodwill or reputation by misrepresenting that A's goods or services are those of or related to B.' For most designers, the action would seem to logically protect them, particularly when they have designed something fairly unusual. Even though a design has unusual features, however, what has to be shown is that those features have been used over time in marketing to identify the designer and design business, such that there is an exclusive reputation for those design features. Proving a case of 'passing off' for a three-dimensional object remains extremely difficult. As Samargis points out: 'Passing off cases for shapes tend to sit with well-known packaging shapes such as the iconic Coke buddy bottle or the Dimple whisky bottle where reputation has been established over a long period of time.'

By way of a theoretic example, Samargis points to Australian designer Marc Newson.

'Newson's Lockheed Couch has not been industrially applied so it would retain its copyright. It is also in a position to be design registered. If those rights were lost, that is, if more than 50 were produced without the design being registered, it could still be quite difficult to argue a 'passing off'. Newson would need to argue that the 'orgone' shape that he promotes as his own is embodied in the couch. He could further argue that this is an exclusive feature to him, which 'brands' his work as his.' Most people in the design world, both participants and admirers, would agree that these attributes constitute a recognisable design aesthetic unique to Newson; however, Samargis concludes: 'The problem lies in the question of whether the orgone shape is entirely unique to Newson? In this case, it would be easy to prove original talent and wide knowledge of the Lockheed Couch as Newson's couch given its media exposure. Most designers, however, don't have the advantage of Newson's level of media exposure for their work.'

Conversely, Newson's work for Qantas, which will be mass-produced, has been correctly design registered and a quick search of IP Australia locates Design Registration Number 155761. This is, in fact, Marc Newson's rather fabulous design for a plane seat.

Unfortunately, having a registered design, cannot entirely safeguard against 'fakes' and, as recently as October 2007, McDonald's was ousted by Fritz Hansen [4]. As the legitimate licensed manufacturers of the Arne Jacobsen range including the Swan, the Egg and the Seven, Fritz Hansen had been contracted to supply specially designed Arne Jacobsen chairs for McDonald's UK outlets. During supply, however, it discovered that McDonald's was simultaneously taking delivery of pirated versions. 'We simply will not cooperate or trade with companies that accept piracy, cost what it may. The fact that McDonald's has chosen to use pirated copies is even more surprising since the company itself is legendary across the world in pursuing trademark and copyright suits to safeguard its product and name,' says Fritz Hansen CEO Jacob Holm.

Getting 'the look' rather than authenticity seems to have been the goal and outcome, with UK McDonald's spokeswoman Lorraine Homer citing cost as a driving factor when selecting chairs of similar appearance. She also claimed the copyright on the original design had expired in 1983 without acknowledging Fritz Hansen as the sole right holder and producer of Arne Jacobsen furniture.

Unfortunately, McDonald's is not the only one stocking up on cheap copies. As Andrew Shapiro, managing director of Shapiro Design and Art and specialist in 20th century design, points out, many find a lower price ticket an acceptable compromise to the integrity of purchasing an authentic design: 'What it comes down to is cost, something which might cost you five to 20 thousand dollars at the licensed dealership is being sold for $995. Obviously, they are not of the same quality - they are iconic fakes - there are a lot that just want to have the look. It is a decision people make themselves.' Shapiro also points to a disparity between the failure of the fake's quality and the success of knock-off sales. 'With the copies there is a lot of variation; they are not as successful as the original, they are an adaptation, the structure may be slightly different, the leather not as good, they are a look. They are fakes, not reproductions. When licensed reproduction [is] versus a fake's price tag... well, there are restaurants ordering them by the hundred - they want the look - the demand is so high. Fake has become overly successful.'

Shapiro's commitment to educating consumers about design values and authenticity of design is commendable. So too are the moves towards internationally recognised laws and the work being done by Samargis, IP Australia and Arts Law to help protect and educate designers. It is, however, far from smooth sailing.

Footnotes
[1] www.ipaustralia.gov.au
[2] http://www.austlii.edu.au/
[3] http://www.oznetlaw.net/home.asp
[4] UK Telegraph, 'McDonald's accused of piracy by chair firm', Julian Isherwood and David Litterick, 9 October 2007.

Part 2
Gilian Serisier reiterates the need for Australian designers to register their designs. She also looks at some of the international moves towards universal design protection as well as the realities of not registering and certifying a design.
Protecting industrial design rights remains the most challenging of the international Intellectual Property (IP) issues. 'This is a complex area, with different options for protecting designs ranging from sui generis design laws, unregistered designs and design patents, through to copyright and trademarks. Hardly any other subject matter within the realm of IP is as difficult to categorise as industrial design,' states the 2007 annual report of the World Intellectual Property Organisation ( WIPO). The intention of the 184 member states comprising WIPO aims to protect the rights of designers and rights holders and focuses on creating and maintaining an international legal framework.

A recent series of design questionnaires distributed to the WIPO member states is intended to progress the Standing Committee's work towards harmonising design registration formalities and procedures. And while it is good to see such moves afoot, there is little point in holding one's breath. 'There was a suggestion a few years ago, from some member countries of WIPO, that the logical progression of this work would be the development of a design law treaty along the lines of the Patent Law Treaty and the Trademark Law Treaty. If this is agreed, the work would take some time. So it would seem that there is progress towards finding areas where practice converges on an international scale, but reform is not imminent,' says Peter Willimott, director, Marketing and Customer Engagement, IP Australia. As the situation stands, the WIPO-administered 'Hague Agreement Concerning the International Deposit of Industrial Designs', established in 1925 and most recently amended in 1999, allows for the registration of industrial design for protection rights in a single application for a multitude of countries (currently 48) within the treaty. As with design registration within Australia, application through the Hague Agreement cannot be made retroactively and must be in place prior to industrial application.

Unfortunately, international design registration is not quite as simple as a one-stop shop and the individual laws of each country must be considered when manufacturing or importing. When Australian designers export a design, they must register their intellectual property with each country of interest within (generally) a six-month period of registering the design in Australia. Using detailed drawings for your initial registration is essential, as many countries do not recognise photographs as valid documentation. Unequivocally registering with countries of interest must be done prior to export.

Industrial design protection is further complicated if the three-dimensional object can be categorised as 'a work of artistic craftsmanship' . Under this category the work may be eligible for protection under copyright law and enjoy an extended period of protection. Arbitration in this area becomes increasingly difficult as the line between art and design is often blurred. For example, when WIPO poses the art versus design question in regard to Le Corbusier ('Are the classic chairs designed in 1929 by Swiss architect and designer, Le Corbusier - such as this chaise longue - simply items of furniture, or also works of applied art?'), to those in the design world, the answer seems straightforward enough, but the law does not see things in quite the same way. This is further complicated by differences between countries. In Australia the law is quite clear: once a 'design' has been industrially applied (i.e. 50 items have been produced) copyright is forfeit.

In the case of Le Corbusier, Cassina is the only company making an authentic, licensed product. A licence is generally an agreement whereby a fee granting reproduction rights goes back to the foundation or family. As Andrew Shapiro points out, though, it is not all about the fee. 'There is a professional courtesy involved where the reproduction is true to the original design specification in structure, material and the quality of engineering.' Unfortunately even a cursory browse through the internet locates Le Corbusier replicas in abundance.

Design replicas are not illegal. Morally questionable? Yes. Illegal? No. Notwithstanding it is jolting to see a design as recent as Ross Lovegrove's Supernatural chair of 2005 (for Moroso) appearing as a replica on the internet for the princely sum of $119. And while it affects the design community as a whole to see such flagrant disregard for the designer's moral rights, for the designer himself it is an unspeakable offence. 'Looking at my Supernatural chair copy is like looking at someone you love with a scar across their face!' says Lovegrove from his London studio. Granted, there are slight visual differences: the replica does not have the hole in the seat, the dimensions are slightly different, as is the form. Technically they also differ with the replica boasting '...injection moulded [sic] plastic with reinforced fiberglass [sic] legs,' while the authentic design utilises fibreglass-reinforced, air-injected, integrally coloured polypropylene to create a light but strong and weather resistant chair.

The slight changes to the visual aspects of the design possibly reflect a misguided belief that a change by 10 percent makes it legal. Contrary to this belief, no change is necessary - the chair has not been design protected in Australia and can be directly copied. So, while no infringement has occurred it is undoubtedly a knock-off. Lovegrove's general thoughts on piracy speak volumes. 'Piracy and plagiarism are for opportunists whether culturally or commercially inclined. It's an unstoppable force and confirms the value of originality and innovation and the importance of remaining optimistically engaged in creating a culture of quality ahead of the field.'

In an ironic twist, the replica is being touted as café furniture. Lovegrove's intention was to create an affordable yet durable chair for outdoor use. This brings us back to what Shapiro calls 'the look'. Indeed, it isn't the real thing, but it looks a hell of a lot like it. The question here is: how can this happen? Ross Lovegrove is an established designer, his chairs are recognisably unique, and the Supernatural range is distinctly his original talent.

Sydney-based patent attorney, Ken McInnes ( Hodgkinson McInnes Patents), theorises how a situation like this may have arisen. 'Lovegrove is different in the sense that he is operating as the commissioned designer for Moroso. Under this arrangement, the patron may register the design in a number of regions to protect what is essentially their product. TAG Heuer SA has done so with several Lovegrove designed watches and spectacles. The fact that Moroso has not done so means the item may be replicated and sold in this region.' The fundamental dilemma seems to be the differences in laws between regions. 'European law allows for a system of unregistered design rights, which goes back to the European moral rights law. It is an industrial version of copyright,' says McInnes.

Indeed the system operating in England for unregistered design rights affords some rights without registration. Barrister, James Samargis, describes it as '...a hybrid very suited to the realities of designers' work and life - there is something smart and practical about it'. At present Australia does not have an equivalent of that law nor do most regions outside Europe. This disparity opens the way for piracy. Each exposure of the designer's work frees any operator within a region where the three-dimensional design has not been registered to replicate it. 'Lovegrove's work runs the risk of other jurisdictions that require industrial property registration such as the US or Australia; he cannot get valid protection once he realises his design commercially - it is too late. By launching the product in Europe, if he then decides to export to the US or Australia, there is nothing he can do,' says McInnes

Interestingly, Moroso has registered its corporate logo in Australia, but it does not own a single design registration in this country. McInnes sees this as typical of the view held in Europe of the Australian market. 'Much of European industry sees Australia as a small market that is a long, long way away. Simply put, until we become a bigger market, who cares? Conversely if anyone puts Moroso or Henry Miller onto a product then all hell breaks loose.' So how can the copier or seller of the replica apply Ross Lovegrove's name to the promotion of their product? 'If you say 'inspired by' or 'replica' - you are not using it as a trademark. If someone says this is a Lovegrove chair they will be sued for passing off, but by saying this is a replica Lovegrove, it is not the case. Replica is a statement of fact,' says McInnes. Under these conditions the Supernatural chair copy is a replica of a design not registered in this country, which unfortunately means that neither Lovegrove nor Moroso can do anything about it. If the design were registered in Australia it would be illegal to replicate or reproduce the product and doing so would constitute an infringement and be deemed a civil wrong. McInnes believes that seeking the registration in China and South America where replicas are overwhelmingly manufactured is one alternative to registering a design in multiple countries.

The WIPO nomination (on 13 May 2008) of Australian national, Francis Gurry, as director general, augurs well for the harmonising of Australian and international IP law, as does the 2009 Australian Design Act review. 'In relation to the Australian legislation, the new Design Act is to be reviewed in mid 2009 as originally planned (five years after implementation). Work is also being undertaken on developing Australia's position in relation to the Hague Agreement,' says Willimott.

For the present though we must accept the system in place and abide by its laws, regardless of the seeming lack of logic. 'For Australian designers registration is granted to anything submitted, provided it is clearly a design and the drawings are technically competent. IP Australia will simply register the design; however, you cannot issue threats or commence legal proceedings if you have not sought certification of the registration to assure it is a new and original design matched against the database. Basically if you are getting a design registered you would be crazy not to get it examined. Without both, it is a toothless tiger,' says McInnes, in accord with Samargis. 'Registration is the shield, certification is the sword.' Be warned though, if you don't seek certification promptly after initial registration and are infringed, it can take up to six months before it gets examined. If there are problems, you then have to deal with overcoming the objections, which means delays and more expense. The other risk McInnes sees for designers is one whereby 'a third party can seek to have your registration examined by paying half the government fee and have the opportunity to submit documents alerting the examiner to prior designs,' he says. 'If that happens you have a very short amount of time to pay the other half of the fees and if you do not your design registration is cancelled, regardless of the merits of your case.'

Our current laws leave much to be desired; however, they are the laws by which we must abide. Getting designs registered and certified remains a priority since it offers the only means of recourse should an infringement occur. Moral rights should be universal: reason must surely prevail. In the interim we await both the 2009 Design Act review and the updates to the Hague Agreement, we are not holding our breath, but we do have our fingers crossed.

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The legal rights and responsibilities and designers continue to be an often misunderstood and treacherous area. Gillian Serisier looks at some of the basic distinctions between copyright and design registration when it comes to design IP. For legitimate design retailers, wholesalers, agents and dealers the 'fake' designer market is an enormous problem, and that's putting it mildly.

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As part of our partnership of the 2016 Good Designs Awards, we're taking a look at how intellectual property relates to your creative businesses and why it's important to consider protecting your designs. From students to start-ups all the way through to seasoned professionals, understanding the basics of IP is vital.

For most designers, your creativity is your primary product. It's the foundation of your business and protecting it should be a consideration. I get the opportunity to work with many creative start-ups, it's one of the many perks of my job and when I see beautiful and unique work, I always ask 'what are you doing about your IP?' Unfortunately the answer I receive is mostly along the lines of 'oh I own the copyright'.

Too often, designers believe they have copyright protection for their products and are disappointed when replicas of their work are sold by more established traders. Understanding the many facets of IP (and its limitations) is key to getting the right mix to protect your creativity. With recent media coverage of large corporate entities copying small designer's work, it should come as no surprise that more and more creative start-ups are taking notice of the value of their IP and seeking information to make informed decisions about IP protection and management.
So what's the right IP mix for creative start-ups? Copyright
The most common IP right is copyright. It's also the cheapest because it's free! In Australia, copyright protection is automatic as long as the work is original and falls within one of the categories of protected material such as artistic works, like music, photography or content on a website. Copyright owners are advised to take a proactive approach to claiming their copyright by placing a copyright notice in a prominent place on their work. The copyright notice might include the © symbol, the name of the creator and the year the work was created. This gives others a clear signal that you claim that IP under copyright.
Design rights
Design registration protects designs which have an industrial or commercial use. A design refers to the features of shape, configuration, pattern or ornamentation which give a product its unique appearance. There are two stages to registering your design. The first is to submit your application and the second is to have your design examined, which is optional. For a design right to be enforceable the design must be both new and distinctive. Unlike copyright, you will need to apply to IP Australia to register the design and, if you wish to enforce your rights, you will need to have your design examined and certified. If your design meets the criteria at examination, you will be provided with a certificate of examination. Design registration provides an initial protection term of five years that can be extended up to 10 years.

The application process should be easy enough if you take the time to educate yourself on the process and requirements; otherwise working with an IP attorney is recommended. There is one golden rule to remember - do not publish or exhibit your design anywhere before you apply. This means no mention on websites, Instagram, Facebook (or any other social media site), magazines or in exhibitions. Once you start marketing or manufacturing your design, you may forgo any chance of registering the design.
What's the difference between copyright and a registered design?
Let's look at where copyright stops and a registered design starts. In a nut-shell, if you are designing a functional product, like a cup, chair or handbag, your copyright protection ceases when the product is commercialised or you make multiple copies. From this point, if you have not applied for a registered design, you are unfortunately open to copycats and any opportunity to take legal action will be limited. You will generally be able to rely on copyright protection if you want to protect a 2D design, a 'work of artistic craftsmanship', or a design for an item that you haven't yet started to exploit commercially. The Copyright Council of Australia has a wealth of resources and information sheets available; in particular they have a great information sheet on copyright and industrial designs.

By Casey, IP Australia
Discover more
If you are interested in protecting your design with a registered design right, then start with the design basics section on our website.
Good Design Festival 2016
This year, we're partnering with Good Designs Australia for the 2016 Good Design Festival. Taking place at the iconic Overseas Passenger Terminal at Circular Quay Sydney, in the heart of VIVID Sydney - now the world's biggest festival of light, music and ideas.

We'll be presenting a keynote address at the Good Designs Exchange, as well as being on the panel for the forum discussion: 'Who stole my Design - IP and Design Rights Forum'.

Be sure to keep Saturday 28 and Sunday 29 May 2016 in your diary free to attend this exciting event.

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IP in the creative world - design rights and copyright

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As part of our partnership of the 2016 Good Designs Awards, we're taking a look at how intellectual property relates to your creative businesses and why it's important to consider protecting your designs. From students to start-ups all the way through to seasoned professionals, understanding the basics of IP is vital.

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Designer/client liaison & communication in Visual Communication

Focus on contemporary Australian & International designers in Visual, Environmental & Industrial fields

Understanding the function of the Brief in the design process and approaches to it’s development

Examine how Design & Production decisions are made, and the various factors that influence them.

Legal obligations with IP & copyright, and how this affects the design process.

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• describe the roles and relationships between the clients, designers and specialists
• describe the practices, techniques and processes used by designers in establishing briefs and in designing and producing visual communications that fulfil clients’ needs
• explain how design decisions are influenced by a range of factors
• identify practices that acknowledge legal obligations
• use appropriate terminology.

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Key knowledge
• the stages of the design process used by visual communication designers
• roles and responsibilities of designers, specialists and clients in the design and production of visual communications
• the practices of key contemporary Australian and/or international designers in the communication and/or environmental and/or industrial design fields
• the distinguishing characteristics of different design fields
• the role of the brief in documenting the parameters of clients’ needs
• the processes and practices used for collaborating between designers, specialists and clients practices when pitching and presenting design directions, proposals and final presentations to clients
• evaluation techniques employed by designers throughout the design and production of visual communications
• decisions made during the design and production of visual communications to fulfil a brief, including the choice of materials, methods, media, design elements and design principles
• social, ethical, financial and environmental factors influencing designers’ decisions
• trademark and copyright legal obligations of designers when using the work of others
• terminology appropriate to the study.

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On completion of this unit the student should be able to describe how visual communications are designed and produced in the design industry and explain factors that influence these practices. To achieve this outcome the student will draw on key knowledge and key skills outlined in Area of Study 2.

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"In this area of study students investigate how the design process is applied in industry to create visual communications. Students develop an understanding of the processes and practices used to support collaboration between clients, designers and specialists when designing and producing these visual communications. Contemporary Australian and international designers from the communication, environmental and industrial design fields should be considered for study. Students develop an understanding of the function of the brief and approaches to its development. They examine how design and production decisions made during the design process are influenced by a range of factors. Students develop an understanding of the legal obligations of designers and clients with respect to ownership of intellectual property and how these obligations may affect decision making."

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Advertising | Media packages | Opinion
No longer just putting pithy slogans and eye catching page layouts together, ComDesign has evolved into the manipulation of an ever increasingly media savvy target audience. Starting with print media and conventional advertising, it's now moved into this ephemeral, intangible world. From Mad Men to Steve Bannon,

http://www.thedrum.com/opinion/2013/04/09/how-margaret-thatcher-transformed-world-modern-political-communications

https://www.forbes.com/sites/forbesagencycouncil/2017/05/24/fame-as-a-career-choice-and-the-rise-of-micro-influencers/#48e96f512cbd

https://www.theguardian.com/australia-news/2017/oct/05/gentrification-street-art-and-the-rise-of-the-bogus-block-party?CMP=soc_567

relevant Simpsons moment
https://www.youtube.com/watch?v=0WDi4tAqPkM

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Presentation of the finished product to the client and evaluation against the BRIEF.

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Formulate your Evaluation Criteria and conduct a formal/informal evaluation.
Modify selected design options with regard to:
-Materials, Methods & Media
-Design elements and principles.

Making mock-ups & models
Keep documenting everything

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Take the most successful ideas from the Ideation phase (step 3) and develop them further.
Trial different materials,  physical and digital methods of production and media.
Conduct critical and reflective analysis throughout this phase & Document all steps taken. (see video in Step 3)
Produce Visualisation  Drawings and Production Drawings

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Start brainstorming ideas and sketches. Doesn't matter how it looks, this is visual thinking. From this process a number of possible solutions will eventually emerge.

http://www.allgoodfound.com/2017/09/logo-design-with-designer-aaron-draplin.html

http://www.huffingtonpost.com.au/entry/9-things-that-happen-when-you-carry-a-sketchbook-with-you-nonstop_us_56c77001e4b0ec6725e2820a

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Look for background information related to the Brief. What are the considerations of the problem? What do other designs related to this brief look like? How do they address the brief? Is there an aesthetic or established conventions around the subject matter? Do they need to be followed?
Investigate, analyse and interpret the results.

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Object | Manufacturing | Product
Creating prototypes and designing for production. This covers fashion, furniture, technology... essentially anything that you can hold in your hands.

Consider the materiality of your product and the manufacturing process in it's entirety. How does the manufacturing process affect the design outcome? Can your design actually be produced?  Where is it being made? Who's making it?

http://studioperiscope.com/

Focus on: Fashion Design
Brunswick fashion label using sustainably sourced fabric
http://nmbq.com.au/

Desert Designs (Jimmy Pike)
https://www.desertdesigns.com.au/

https://www.thesaturdaypaper.com.au/2014/09/06/desert-designs-new-blooms/1409925600

Yardage production  in Gujarat, India
http://miff.com.au/program/film/machines

http://www.abc.net.au/news/2017-03-28/the-price-of-fast-fashion-rivers-turn-blue-tonnes-in-landfill/8389156

https://baptistworldaid.org.au/resources/2017-ethical-fashion-guide/

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Architecture | Interior | Landscape
Essentially Designing environments that humans inhabit,. Anything from working on large scale engineering projects (Freeways, train stations, suburbs) to Architecture to Visual Merchandising and layout for Lush or Cotton On.

Architecture:
http://www.breathe.com.au/the-commons-1/
http://www.architectureanddesign.com.au/awards-1/2014-winners/the-commons-by-breathe-architecture-named-best-of

http://www.rosslangdon.info/work/

http://www.abc.net.au/radionational/programs/earshot/the-chameleon-architect/8889788

Urban Planning
https://www.theguardian.com/housing-network/2015/jul/28/urban-design-mistakes-unhealthy-inactive-communities

https://www.dezeen.com/2017/09/01/urban-design-caused-hurricane-harvey-disaster-houston-flooding-ilan-kelman-opinion/

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What are the ethics of a professional designer?
Following Best, Good and Poor professional practice standards effect your standing in the field and reputation as a design professional.

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Design Institute of Australia (DIA) - DIA Code of Ethics

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7.1 Notwithstanding anything elsewhere stated in this Guide to Professional Conduct, circumspect advertising may be properly employed by the designer to announce the practice and services offered. The media or other forms of communication used and the content of the announcement shall be dignified, becoming to a designer and characteristically free of any factor or circumstance that could bring disrepute to the profession.

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PLAGIARISM (How to avoid it and where's the line b/w 'inspired by' and 'stolen')

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PLAGIARISM (How to avoid it and where's the line b/w 'inspired by' and 'stolen')

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http://junkee.com/liberal-party-fair-go-junkee/110572

http://www.abc.net.au/news/2015-06-29/target-caught-ripping-off-peaches-and-keen-clothing-design/6581910

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Whether we're talking about visual design, the writing of code or - in the case of web design - a combination of the two, most design work is at least inspired by the work of others. And that's no bad thing: why should we spend hours reinventing the wheel when neither our clients or customers will thank us for it?

That doesn't mean plagiarism, of course. But where do you draw the line between inspiration and copying. We speak to seven industry experts to find out their views...

01. When the source is uncredited

"With sites such as GitHub and CodePen allowing us to share code within the community, it's easy to find things that save a lot of time," says David Darnes, designer & developer for BaseKit. "What we sometimes miss out, however, is crediting the source.

"This is the difference between utilising resources and plagiarising resources. If you've used an open source package, credit it. Using open source packages is a good thing - I'm not asking you to reinvent the wheel, just tell us what wheels you used."

02. When irrelevant chunks of code are copied

"In the years before it was easy for anyone to get a site live, our website was copied several times (that we know of)," says Gus Mark, director of Mark Design.

"It usually showed up because the visitor tracking code was also inadvertently copied. Once it was an exact duplication, translated into Vietnamese for a design company in Ho Chi Minh City. We were particularly flattered that they kept in our staff pictures.

03. When bespoke photography is stolen

"It's virtually impossible to create entirely original designs," says Elliott J Stocks, creative director of Typekit and co-founder of Lagom. "Almost everything we do has been informed by others' work and existing conventions. In fact, users rely on conventions to make sense of our work. Imagine a web without conventions - it'd be extremely difficult to use!

"But there are certain design elements, or combinations of elements, that have a purpose specifically for the website on which they belong, and to re-use them elsewhere starts to cross into the murky waters of plagiarism.

"Images are easiest to reference here: re-using photography that was bespoke for a particular project is a big no-no. But beyond that, it's all a grey area, and it's wisest to treat things on a case-by-case basis.

04. When it's a "substantial violation"

"Morally, the boundary between inspiration and plagiarism is likely to be crossed when someone largely recreates the work or ideas of another and represents them as their own," says Asad Ali, partner, Blacks Solicitors.

"Legally speaking however, the boundary is only crossed if there is a violation of the legal rights of a copyright holder; the key test being whether a substantial part of the work has been copied.

"In an authoritative case involving two video game companies, although the original game was found to have 'inspired' the allegedly infringing game, this was deemed to be too general and did not amount to a substantial part of the original, the distinction being that there was no copying of the code or graphics.

05. When there's no improvement on the original

"Designers collaborate with clients to create moodboards, where the work of competitors is reviewed for best-in-class features and quality of execution," says Jonty Sharples, Co-founder & CDO of Hactar. "Being inspired by this stuff is fine - it's your job to find inspiration wherever you can.

"If there's an element of functionality that's particularly standout, look to improve upon it. This is fine. You're taking an idea and running with it. If, however, you pilfer that idea and reproduce it wholesale, you're on very shaky ground.

"My rule of thumb is as follows: if you're taking someone else's work and carbon-copying it for financial or reputational gain, you're plagiarising.

06. When a "blurred line" is crossed

"There's no definitive line when it comes to plagiarism," says digital & web designer Dave Ellis. "The lines are blurred and unfortunately that's the reason why so many people get away with it. I've had my work copied a few times over the years, and it leaves you feeling both flattered and annoyed at the same time. It's good to look for inspiration, but you have to push your findings in your own direction to create something new."

07. When designers are learning

"I'll admit it: I've stolen," confesses web designer and developer Daniel Howells. "I've sneaked into other people's CSS and JS files, and pocketed design patterns and colour palettes that have taken my fancy. This was all years ago when I was learning development and design.

"Research and copying is part of learning, and the line between inspiration and plagiarism will always be blurred. If you've had your work plagiarised, take a moment to feel proud: you've inspired someone who's probably just learning the craft."
This article first appeared in issue 264 of net magazine. Like this? Read these!

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When does inspiration turn into plagiarism?

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Whether we're talking about visual design, the writing of code or - in the case of web design - a combination of the two, most design work is at least inspired by the work of others. And that's no bad thing: why should we spend hours reinventing the wheel when neither our clients or customers will thank us for it?

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What happens if you get caught violating someone else's copyright or IP?

Case Study:
LeBron's Tattoos
http://www.hollywoodreporter.com/thr-esq/failure-register-lebron-james-tattoo-916627

https://www.artslaw.com.au/art-law/entry/tattoos-and-copyright/

https://www.hollywoodreporter.com/thr-esq/solid-oak-sketches-argues-lebron-james-cant-license-his-tattoos-1146891

Google v Uber Self driving car IP )
https://www.wired.com/story/uber-waymo-google-levandowski-lawsuit-stroz-report/

https://www.digitaltrends.com/business/google-sues-uber-over-self-driving-car-secrets/

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Clear Communication and correct Terminology

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Clear Communication and correct Terminology

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Does your client know what you're talking about? Do you know what you're talking about when dealing with production specialists? Nobody's perfect and everyone makes mistakes, but they can be avoided through communication and research. If the printer specifies a PDF in CMYK @ 600DPI, and requires 4 days lead time for production, make sure you follow their instructions.

https://clientsfromhell.net/

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What does your Design Practice say about your worldview?

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What does your Design Practice say about your worldview?

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What's the production process? What's your supply chain look like? Are you seeking to educate the client and consumer? How much thought has gone into the environmental and Human impact of the design? Does the BRIEF cover these concerns? Whose job is it to make sure this is addressed, the client or the designer?

https://www.ted.com/talks/sebastian_deterding_what_your_designs_say_about_you

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Your rights to your creations, how to avoid plagiarism and who owns the copyright/IP .

Interesting thing:  If a trademark falls into common use as a noun then it loses its status as IP. Think thermos, eski and velcro http://www.thedrum.com/news/2017/09/26/velcro-hopes-original-music-video-about-its-brand-trademark-sticks-with-consumers

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UNDERSTANDING IP

Which IP right do you need?

Learn about the different types of IP you can protect.

IP SEARCH

Check if your idea's available

Before applying, search existing IP rights to make sure your idea is new.

Applying for rights overseas? Search the existing registrations in all relevant countries.

MANAGING IP

Want to get the most out of your idea?

Once you've registered your IP, it's up to you to manage it and enforce your rights.

Maintain your IP protection

To keep your IP right protected, you'll need to renew it on time.

Commercialise your IP

Profit from your protection by franchising your IP, or learn how you can collaborate with researchers to further your ideas.

Respond to infringement

If someone else is using your IP, it's important you respond quickly and appropriately.

Understanding ip

Protect your Indigenous Knowledge

IP rights can legally protect aspects of Indigenous Knowledge and contribute to your product's value.

News and community

See all

Our new and improved Patents Manual of Practice and Procedure

Our new and improved Patents Manual of Practice and Procedure

19 October 2023 | 1 MIN READ

We've heard your feedback and streamlined the Patents Manual.

Coming soon to Australia ByDesign Innovations!

Coming soon to Australia ByDesign Innovations!

20 September 2023 | 1 MIN READ

Customer Experience Group General Manager Justine Hall will feature in Season 6 of the Australia ByDesign series.

Insights from Sprint Horticulture

Insights from Sprint Horticulture

12 September 2023 | 2 MIN READ

Here's how Sprint Horticulture has benefited from plant breeder's rights (PBR) protection to help establish a strong presence in the market.

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IP Australia | Protect The Value Of Your Ideas

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Apply for a trade mark, patent, design right or plant breeder's right in Australia with us.

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How to Liaise with CLIENTS and SPECIALISTS

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How to Liaise with CLIENTS and SPECIALISTS

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There's more to getting your designs produced than hitting 'Print'. There's a series of conversations that need to happen between the Client, Designer and Production Manager before something gets made, and the Designer is often the one in the middle developing compromises when things don't go to plan

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Methodology

Who is going to help you get your product or idea developed?

This is part two of a series of three articles detailing the internal groups we have to design for in order to get great products built and sold. Part two focuses on the groups that collaborate to get your design produced.

Here's Part One (not required, but recommended):

Okay so we've gotten buy-in from the higher-ups and now the real panic... uh ...excitement sets in. We are ready to bring in the teams who will help us get this thing built:

Internal Design Team

Product Management

Development

Some of you may be designing solo and/or not have product managers, but someone will be playing these roles whether it's you, your startup's CEO, or your cat. So this one's for you, too.

1. Internal Design Team

Tools: Sketch, duh.

If you're ever working with other designers, it is so important that you keep your file clean and organized. You should be doing this anyway for your own sanity, but especially if you're working with other designers. No one likes sifting through "Group 65" and finding your misspelled text or detached symbols. Do yourself and everyone else a favor and keep a clean kitchen. You'll love yourself, and your team will, too. Everyone wins.

A couple things I always keep in mind while I'm designing:

1. Design Cleanliness: Pretend your design file is your home. How much cleaning would you have to do to prep your place for an Airbnb guest? 15 minutes? Or 5 hours? Is your design clean enough to hand off to another designer with little-to-no explanation? Stay organized.

2. Design Scalability: "This is just a quick-and-dirty mockup. I'll come back later and clean it up," said every designer, ever. Design for scalability out of the gate and you won't have to come back and design it twice. Set up your text styles. Actually use them. Make symbols whenever you want to repeat yourself. Assume that your 3-artboard design file will someday have 180 artboards. It will. Will you be in control of them? Because of the design framework I use, I was recently able to update the brand colors, fonts, and logos across 79 screens for a client in the blink of an eye. This would have taken days had I not set up a scalable process.

3. Design Consistency: Consistency is an earned advantage when you design in a scalable way. If you're using styles and symbols, your potential for error is so much smaller than if you were creating elements from scratch every time. You won't get any more questions from dev as to why the padding is 16px here and 15px there.

Design Cleanliness + Design Scalability + Design Consistency = Design Team Efficiency

Einstein has E=MC² and Pythagoras has a²+b²=c², so maybe I'll get this etched into an Egyptian pyramid or something when I'm dead and gone.

Not as much of a ring to it, though. Working on that.

2. Product Managers

Tools: Backlogs, Annotated Wireframes or Mockups

As much as they can really drive us crazy, product managers are the ones who make us designers look good. I can't tell you how many times I've been in a review with my PM before a client presentation, only to realize that I've forgotten an important use case.

With product managers, you're not designing for them so much as you're designing with them. PMs are a direct line to your users, so keep them close. They're the keepers of all product requirements, each of which is deeply rooted in user research.

My product managers are my best friends. Here's how we work together:

Backlog Building: What are we designing next month? She needs my input to help size stories, and I need her help to keep my head on straight so I'm focusing on the right things.

Solution Design: Yep, product managers usually have a great eye for design. They've seen it all...just like you. Brainstorm with them! Let them hold the whiteboard markers! Solve problems with them. They're great at what they do, and they will help you. They want to help you.

Client Interfacing: When you're not unveiling a grand new design, it's usually the PM who communicates back and forth with the client. Be thorough in your designs and make sure you satisfy all requirements. Don't make your PM look bad; it's your fault if you miss something, not theirs. But the client doesn't know better. Make them look good, and they'll return the favor!

3. Development

A design without a developer is like a Christopher Nolan film without a theater:

"Look at this movie I made!" cried Nolan, hoisting a film canister high above his head amongst a crowd of people. 'The Dark Knights of Columbus' was written lazily in Sharpie on a dirty piece of masking tape across the round metal can.

"But can we see it?" the people asked, turning toward each other.

"Well...no...but look at the film! Isn't it beautiful?" As he shook the can, the miles of coiled film inside thudded softly against velvet interior.

"But can't we see the movie? With sound and movement! We want to experience it!" A small girl wept in her mother's arms. The crowds had begun to disperse.

Noticing the commotion, a boy on a fixie rode up to the man and whispered, "Love the type, bro." He kicked off the pavement and pedaled down the street.

"I spent years on this!" Nolan bellowed. His words echoed off the buildings in the empty city square. "Don't you people understand art?!"

The people had left. He gently leaned the film canister against the curb, and sitting down, let his face fall into his hands.

"Nice one." Nolan noticed a homeless man next to the fountain. He formed a heart with his curled fingers. "Welcome to Dribbble," the man whispered.

What good is your design if no one ever uses it? Designing for practice is all well and good, but at some point, you're gonna want to get the thing built. That's what pays the bills, right?

Here are some things to keep in mind while you design:

Turnaround: Be respectful to developers. If their deadline is Friday, don't wait until Wednesday to get them the design. You'd be surprised how little a dev needs to get started on database or architecture work, so the sooner you can get them a blockframe or wireframe, the better.

Technology Limits: You don't have to know how to code it yourself, but it's beneficial to have a basic understanding of the technology stack your team is using to build the product. If user data is dispersed across several tables in the database, instantaneous-app-wide-global-search probably isn't in the cards. Design thoughtfully, and be willing to compromise with development. Given infinite time, just about every developer would love to do it exactly to spec. Unfortunately, time isn't infinite.

Design Consistency: Developers are great at following the design spec...even to a fault! If your spec shows 14px margins and they're supposed to be 16px, guess how much spacing the developer will put in the code? And guess whose fault it is when it's wrong? I'll give you a hint: Yours. To combat these small inconsistencies, I'll have a meeting with the dev team before implementation begins to have a high-level discussion around design philosophy. No cosmic discussions, just basic rules and standards that we, the design team, try our best to follow. With these rules, I'm teaching developers to fish, not just handing them a mackerel:

Spacing:
Everything is designed on an 8px spacing grid. Paddings and margins should always be multiples of eight: 8, 16, 24, 32, 40, 48, ...

Typography:
Everything is designed using a text style from my Sketch stylesheet. These make for great CSS classes. Grey text is never hex grey - it's always the base black with a transparency applied so it's tinted toward the color it's over.

Icons:
Every icon comes from the same set. "Here's an icon font. Use this instead of pulling individual SVGs from Zeplin or InVision." 🙌🏽

This kind of guidance will set your developers up for success, and I promise you that they'll do a kickass job. Tools like Zeplin have helped us translate design specs to developers faster than ever, and teaching your developers to fish will ensure that extra layer of polish.

Be a selfless and charitable designer. Your influence goes up, down, far, and wide. Make others look good, and you'll all look good together.

In my final article in this series, I'll cover groups who manage quality control. In the meantime, subscribe below to get this in your inbox, and see what we're up to over at UX Power Tools.

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Who are we designing for? Designing for Production (Part 2 of 3)

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Methodology This is part two of a series of three articles detailing the internal groups we have to design for in order to get great products built and sold. Part two focuses on the groups that collaborate to get your design produced.

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Instructions and specifications.
What you're doing, who you're doing it for, what it needs to do, what it can't do and what it's going to look like

http://www.neonzoo.com.au/2015/03/what-is-a-design-brief/

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It's a term we throw around the studio all the time and something we won't start a project without! But for many clients, they want to know: What is a design brief?

Briefs come in all shapes and sizes and as a designer, it is best practice to for us to understand the project at hand before we get to work on the design concept.

So, what is a design brief? A design brief articulates the desired results and the businesses, persons or organisations need for the design. Rather than focusing on aesthetics, a design brief is what outlines your project goals and objectives. As a client, it is essential to the success of your project that the brief clarifies that we have understood you and your project requirements correctly. Below are a few points we like to give our clients to follow in order to build your design brief:
1. Know who you are as a business.

New or established business

Product/service offering

Point of difference

Key brand themes and objectives

Business scope

2. Clearly define your project objective.

What is the purpose of the project?

Is it to educate your audience on a new product/service?

Is it to develop a new business brand?

Is it to create a website that is easy to navigate for clients and clearly defines your service offerings?

3. What are the design considerations?

Market influences, such as customers & competitors

Other design materials

Is it a new or existing business?

What is the context of the design?

How will the design be delivered? ie; print or digital

Inspiring brands, websites and campaigns

Most important message to be communicated to your market

4. Know your target market.

Who are they?

Where are they located?

What is their buying motivations?

5. What is your project timeframe?

Project schedule & stages
6. How will the success of the project be measured?

Sales growth

New clients

Repeat clients

Increased brand awareness

Internal management structures

7. Project specifications and scope

Print requirements

Digital requirements

Copywriting requirements

Photography requirements

When we develop design briefs for projects, we pull information collected from conversations and discussions that we've had with our clients about the project using the points above. With each of our briefs we encourage clients to correct us if we have mis-heard or mis-understood anything so that we have a clear understanding of the project before we get started on the creative and design component of the project.

When developing a design brief, we will supply this to the client with a mood board (read more about what is a mood board here. A mood board is visual reference of found images for the client to review in conjunction with the design brief.

We will continually refer back to your mood board and design brief as we work on your project to ensure the project doesn't run off course.

If you have any questions regarding your design brief, please don't hesitate to contact us.

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Briefs come in all shapes and sizes and as a designer, it is best practice to for us to understand the project at hand before we get to work on the design concept. So, what is a design brief? A design brief articulates the desired results and the businesses, persons or organisations need for the design.

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Roles and Responsibilities of the DESIGNER

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Roles and Responsibilities of the DESIGNER

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What do you do and what do you need to be doing while you do it?
101 - Don't take images from Google image search and call them your own

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Follow these 5 easy steps to design success!
(not included: all the work)

VOX: How to solve problems like a Designer
https://www.youtube.com/watch?v=wOrmr5kT-48

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This is the first stage of the Design Process. In this stage we write out a description of the need for a design. It is called a Brief. It sometimes has a 'fuzzy front end' because we often have to combine it with the next stage, Research before we are fully sure about our ideas.

This section includes:

A description of:

Client,

The design need. (Called communication need),

Purpose,

Context,

Limitations, expectations, constraints and/ or considerations,

Presentation format

You can see full details of the Design Brief by clicking here.

In order to make new and original designs, designers need to look around for things that might stimulate their imagination. Reasearch is done broadly, to investigate the whole design problem and includes many different elements.

This stage includes:

Collecting images, textures, scrapbooking looking at past, present, like and unlike designs,

Investigation, analysis and interpretation,

Observational drawing.

In this stage designers try to propose a wide variety of suggestions that could answer the design need. This is very much a 'Green Hat' stage, where designers should not be critical of their ideas, but allow them (good, bad, suitable or not) to flow freely and develop singularly or in strands or groups. Designers use any and every drawing method possible to get their ideas out. These can be 2d or 3d, greylead of coloured. The trick here, is to work as quickly as you can, not pausing to be critical of your work. Students must try not to converge on preferred ideas, but to stay open and divergent, continuing to propose as wide a range of visual ideas as can be imagined!

This stage includes:

Responding to the research made,

Visualisation drawing including;

Freehand sketching,

Paraline drawing,

Perspective drawing,

Collage,

etc.

In this stage designers select preferred ideas and develop them into more feasible design solutions. Although this stage can be seen as a stage of convergence in comparison with the Generation of ideas, students need to ensure that they continue to develop more than one strand or group of ideas or visual suggestions.

Students will use practice creative, critical and reflective thinking during this stage. They will constantly evaluate the suitability of their designs against their brief and document their design thinking in live, written annotations in the pages of their visual diary.

They will also refer to and continue to broaden their reseach as their ideas develop and the become more sure about their actual design directions. Thus, students will demonstrate the true cyclical nature of the design process.

This stage includes:

Selecting preferred design concepts (this means strands or groups of visualisation images),

Trialing a range of materials, methods (both manual and digital) and media,

Experimenting with all of the design elements and principles,

Conducting critical and refelective thinking and documenting design thinking and the process of development and selection of preferred designs,

Visualisation drawing,

Presentation drawing.

In the most critical reflective thinking stage, students must evaluate their designs against their brief. They may also ask others to help evaluate their designs. In response to this evaluation, the designs will then be modified prior to production.

It is also the stage where students will choose only one, preferred option to go forward with for refinement and production.

This stage includes:

Formulation of evaluation criteria and conduct of formal and/ or informal evaluation,

Modification of selected design options in respect to;

Materials, methods and/ or media,

Design elements and principles,

Making mock-ups,

Students will continue to document their design process with live annotations describing their process of selection and refinement.

In this stage students will take their ideas into production.

This stage includes:

Printing or producing final visual communications that satisfy the brief.

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This is the first stage of the Design Process. In this stage we write out a description of the need for a design. It is called a Brief. It sometimes has a 'fuzzy front end' because we often have to combine it with the next stage, Research before we are fully sure about our ideas.