VCD Design Guide 2004-2011

Visual Communication
and Design
Victorian Certificate of Education Study Design
Victorian Curriculum and Assessment Authority

2003
COVER ARTWORK WAS SELECTED FROM THE 2001 TOP ARTS EXHIBITION. COPYRIGHT REMAINS THE PROPERTY OF THE ARTIST.
Latoya BARTON Tarkan ERTURK

The sunset (detail) Visage (detail)
from a series of twenty-four 201.0 x 170.0 cm
9.0 x 9.0 cm each, oil on board synthetic polymer paint, on cotton duck
Liana RASCHILLA Nigel BROWN

Teapot from the Crazy Alice set Untitled physics (detail)
19.0 x 22.0 x 22.0 cm 90.0 x 440.0 x 70.0 cm
earthenware, clear glaze. lustres composition board, steel, loudspeakers,
CD player, amplifier, glass
Kate WOOLLEY Chris ELLIS

Sarah (detail) Tranquility (detail)
76.0 x 101.5 cm, oil on canvas 35.0 x 22.5 cm
gelatin silver photograph
Christian HART Kristian LUCAS

Within without (detail) Me, myself, I and you (detail)
digital film, 6 minutes 56.0 x 102.0 cm
oil on canvas
Merryn ALLEN Ping (Irene VINCENT)

Japanese illusions (detail) Boxes (detail)
centre back: 74.0 cm, waist (flat): 42.0 cm colour photograph
polyester cotton
James ATKINS Tim JOINER

Light cascades (detail) 14 seconds (detail)
three works, 32.0 x 32.0 x 5.0 cm each digital film, 1.30 minutes
glass, flourescent light, metal
Lucy McNAMARA
Precariously (detail)
156.0 x 61.0 x 61.0 cm
painted wood, oil paint, egg shells, glue, stainless steel wire
Accredited by the Victorian Qualifications Authority

41a St Andrews Place, East Melbourne, Victoria 3002
Developed and published by the Victorian Curriculum and Assessment Authority
41 St Andrews Place, East Melbourne, Victoria 3002
This completely revised and reaccredited edition published 2003.
© Victorian Curriculum and Assessment Authority 2003
This publication is copyright. Apart from any use permitted
under the Copyright Act 1968, no part may be reproduced
by any process without prior written permission from the
Victorian Curriculum and Assessment Authority.
Edited by Ruth Learner
Cover designed by Chris Waldron of BrandHouse
Desktop published by Julie Coleman
Visual Communication and Design
ISBN 1 74010 261 4
Contents
5 Important information
7 Introduction
Rationale
Aims
8 Structure
Entry
Duration
Changes to the study design
Monitoring for quality
Safety
9 Use of information and communications technology
Key competencies
Legislative compliance
10 Assessment and reporting
Satisfactory completion
Authentication
Levels of achievement
12 Unit 1: Visual communication
Areas of study
Outcomes
16 Assessment
17 Unit 2: Communication in context
Areas of study
Outcomes
21 Assessment
22 Unit 3: Visual communication practices
Areas of study
Outcomes
26 Assessment
28 Unit 4: Designing to a brief
Areas of study
Outcomes
31 Assessment
34 Advice for teachers
Developing a course
42 Use of information and communications technology
Key competencies/employability skills
Learning activities
58 School-assessed coursework
59 School-assessed task
60 Suitable resources
IMPORTANT INFORMATION
Accreditation period
Units 1–4: 2004–2007
The accreditation period commences on 1 January 2004.
Other sources of information

The VCE Bulletin is the only official source of changes to regulations and accredited studies. The
VCE Bulletin, including supplements, also regularly includes advice on VCE studies. It is the
responsibility of each VCE teacher to refer to each issue of the VCE Bulletin. The VCE Bulletin is
sent in hard copy to all VCE providers. It is available on the Victorian Curriculum and Assessment
Authority’s website at www.vcaa.vic.edu.au
To assist teachers in assessing Units 3 and 4, the Victorian Curriculum and Assessment Authority
will publish an assessment handbook which will include advice on the assessment tasks and
performance descriptors for assessment.
The VCE Administrative Handbook for the current year contains essential information on assessment
and other procedures.
VCE providers
Throughout this study design the term ‘school’ is intended to include both schools and other VCE
providers.
Photocopying
VCE schools only may photocopy parts of this study design for use by teachers.
5
Introduction
RATIONALE
Visual Communication is a bridge between an idea and its intended audience. In the fields of
architecture, engineering, graphic, industrial and multimedia design, advertising and marketing,
cartography and fashion, for example, visual communicators use text and/or image to communicate
information. The visual form that the communication takes may be imaginative and original or it
may conform to conventions or accepted rules. The production of visual communications involves
the application of a design process in which final presentations are developed in response to needs
identified in an initial brief. The design process provides a defined, yet flexible approach, to the
development, evaluation and refinement of visual communication solutions.
The vocabulary and grammar of visual communication is based on understanding and applying drawing
and drawing conventions, design elements and design principles. This knowledge assists students in
the generation of a range of visual communications. In this study, information and communications
technology as well as other forms of image generation are used to create examples of visual
communication. The study also provides the opportunity for students to develop an informed, critical
and discriminating approach to visual communications encountered in everyday life.
AIMS
This study is designed to enable students to:

• extend their understanding of how ideas and information can be conveyed through visual means;
• develop the capacity to create communication solutions through the application of the design
process;
• acquire skills in the analysis, interpretation and understanding of visual communication in its
social context;
• develop skills in freehand and instrumental drawing and rendering;
• increase their knowledge of drawing standards and conventions;
• acquire skills in using design elements and design principles;
• develop a critical perspective of visual communications;
• develop skills in the appropriate selection and application of information and communications
technology, media, materials and production methods in the production of visual communications.
7
Introduction VISUAL COMMUNICATION AND DESIGN
STRUCTURE
The study is made up of four units:

Unit 1: Visual communication
Unit 2: Communication in context
Unit 3: Visual communication practices
Unit 4: Designing to a brief
Each unit deals with specific content and is designed to enable students to achieve a set of outcomes.
Each outcome is described in terms of related key knowledge and skills.
ENTRY
There are no prerequisites for entry to Units 1, 2 and 3. Students must undertake Unit 3 prior to
undertaking Unit 4. Units 1 to 4 are designed to a standard equivalent to the final two years of
secondary education. All VCE studies are benchmarked against comparable national and international
curriculum.
DURATION
Each unit involves at least 50 hours of scheduled classroom instruction.
CHANGES TO THE STUDY DESIGN
During its period of accreditation minor changes to the study will be notified in the VCE Bulletin.
The VCE Bulletin is the only source of changes to regulations and accredited studies and it is the
responsibility of each VCE teacher to monitor changes or advice about VCE studies published in the
VCE Bulletin.
MONITORING FOR QUALITY
As part of ongoing monitoring and quality assurance, the Victorian Curriculum and Assessment
Authority will periodically undertake an audit of Visual Communication and Design to ensure the
study is being taught and assessed as accredited. The details of the audit procedures and requirements
are published annually in the VCE Administrative Handbook. Schools will be notified during the
teaching year of schools and studies to be audited and the required material for submission.
SAFETY
This study may involve the handling of potentially hazardous substances and/or the use of potentially
hazardous equipment. It is the responsibility of the school to ensure that duty of care is exercised in
relation to the health and safety of all students undertaking the study.
8 VCE STUDY DESIGN

VISUAL COMMUNICATION AND DESIGN Introduction
USE OF INFORMATION AND COMMUNICATIONS TECHNOLOGY
In designing courses for this study teachers should incorporate information and communications
technology where appropriate and applicable to the teaching and learning activities. The Advice for
Teachers section provides specific examples of how information and communications technology
can be used in this study.
KEY COMPETENCIES
This study offers a number of opportunities for students to develop generic skills and key competencies.
The Advice for Teachers section provides specific examples of how students can demonstrate key
competencies during learning activities and assessment tasks.
LEGISLATIVE COMPLIANCE
When acquiring and using information, the provisions of privacy and copyright legislation, such as
the Information Privacy Act 2000, the Privacy Amendment (Private Sector) Act 2000, and the Copyright
Act 1968 must be met.
VCE STUDY DESIGN 9

Assessment and reporting
SATISFACTORY COMPLETION
The award of satisfactory completion for a unit is based on a decision that the student has demonstrated
achievement of the set of outcomes specified for the unit. This decision will be based on the teacher’s
assessment of the student’s performance on assessment tasks designated for the unit. Designated
assessment tasks are provided in the details for each unit. The Victorian Curriculum and Assessment
Authority will publish an assessment handbook which will include advice on the assessment tasks
and performance descriptors for assessment for Units 3 and 4.
Teachers must develop courses that provide opportunities for students to demonstrate achievement
of outcomes. Examples of learning activities are provided in the Advice for Teachers section.
Schools will report a result for each unit to the Victorian Curriculum and Assessment Authority as S
(Satisfactory) or N (Not Satisfactory).
Completion of a unit will be reported on the Statement of Results issued by the Victorian Curriculum
and Assessment Authority as S (Satisfactory) or N (Not Satisfactory). Schools may report additional
information on levels of achievement.
AUTHENTICATION
Work related to the outcomes will be accepted only if the teacher can attest that, to the best of their
knowledge, all unacknowledged work is the student’s own. Teachers need to refer to the current
year’s VCE Administrative Handbook for authentication procedures.
LEVELS OF ACHIEVEMENT
Units 1 and 2
Procedures for the assessment of levels of achievement in Units 1 and 2 are a matter for school
decision. Assessment of levels of achievement for these units will not be reported to the Victorian
Curriculum and Assessment Authority. Schools may choose to report levels of achievement using
grades, descriptive statements or other indicators.
10
VISUAL COMMUNICATION AND DESIGN Assessment and reporting
Units 3 and 4
The Victorian Curriculum and Assessment Authority will supervise the assessment of all students
undertaking Units 3 and 4.
In Visual Communication and Design the student’s level of achievement will be determined by school-
assessed coursework, a school-assessed task and an end-of-year examination. The Victorian Curriculum
and Assessment Authority will report the student’s level of performance on each assessment component
as a grade from A+ to E or UG (ungraded). To receive a study score, students must achieve two or
more graded assessments and receive S for both Units 3 and 4. The study score is reported on a scale
of 0–50. It is a measure of how well the student performed in relation to all others who took the study.
Teachers should refer to the VCE Administrative Handbook for the current year for details on graded
assessment and calculation of the study score. Percentage contributions to the study score in Visual
Communication and Design are as follows:
• Unit 3 school-assessed coursework: 33 per cent
• Unit 4 school-assessed task: 33 per cent
• End-of-year examination: 34 per cent
Details of the assessment program are described in the sections on Units 3 and 4 in this study design.
VCE STUDY DESIGN 11

The main purpose of this unit is to enable students to develop an understanding of instrumental
drawing methods and freehand drawing including drawing from direct observation. The unit involves
the study of a range of drawing methods, including relevant Australian Standards conventions. Students
develop practical skills in the application of appropriate drawing methods, design elements and
principles, and information and communications technology. The unit also introduces students to the
diversity of visual communication and the role of the design process in visual communication
production.
AREA OF STUDY 1
Instrumental drawing
This area of study focuses on instrumental drawing to show objects and their relationship to each
other in space – two dimensionally and three dimensionally. Manual and/or electronic drawing methods
are used to draw objects using paraline projections, including isometric, oblique, planometric and
third-angle orthogonal projections. Australian Standards conventions are used appropriately in the
communication of visual information and in the completion of finished designs. The application of
conventions to establish a consistent approach includes correct labelling techniques and the inclusion
of appropriate symbols.
Outcome 1
On completion of this unit the student should be able to complete instrumental drawings using a
range of paraline drawing systems.
To achieve this outcome the student will draw on knowledge and related skills outlined in area of
study 1.
Key knowledge
This knowledge includes
• paraline drawing systems, including isometric, oblique, planometric and third-angle orthogonal
projections;
• manual and/or electronic equipment used in drawing objects in the paraline drawing systems,
including isometric, oblique, planometric and third-angle orthogonal projections;
12
VISUAL COMMUNICATION AND DESIGN Unit 1
• Australian Standards conventions used in orthogonal drawing, including dimensioning and

letterform conventions for labelling;
• drawing methods, including manual and/or electronic drawing.
Key skills
These skills include the ability to
• use manual and/or electronic instruments to draw objects using paraline projections, including
isometric, oblique, planometric and third-angle orthogonal projections;
• develop two-dimensional orthogonal views into three-dimensional views and vice versa;
• use Australian Standards conventions for dimensioning;
• use correct labelling techniques and symbols in orthogonal drawings.
AREA OF STUDY 2
Freehand drawing and rendering

This area of study focuses on freehand drawing from direct observation, including one-point and
two-point perspective and rendering. A range of media is used in drawing to represent objects, depicting
surface features and to describe form, space, light, shade, shadow and texture. A variety of rendering
techniques may be applied to enhance the form of represented objects and to communicate realistic
scale and proportion of objects in relation to one another.
Outcome 2
On completion of this unit the student should be able to draw from direct observation, in proportion,
and render the drawings.
study 2.
Key knowledge
• freehand methods for drawing both one-point and two-point perspectives;
• a range of media for use in drawing and rendering;
• rendering techniques to enhance form, space, light, shade, shadow, texture and the surface of
materials;
• freehand drawing to develop judgment of proportion and scale, and to show the relationship of
objects to each other.
Key skills
• create, in proportion, one-point and two-point perspective freehand drawings from direct
observation;
• visually represent form and the relationships of objects;
• use a range of media to render texture of materials and to show light and shade;
• render form to show surface of materials and texture.
VCE STUDY DESIGN 13

Unit 1 VISUAL COMMUNICATION AND DESIGN
AREA OF STUDY 3
Design elements and design principles

This area of study focuses on the experimentation, exploration and application of design elements
and principles through manual freehand drawing, the use of information and communications
technology and, where appropriate, other methods of electronic image generation such as photography
and photocopying. Design elements, including colour, shape, line, tone, texture, form, letterform and
point, and principles, including balance, contrast, cropping, hierarchy, figure–ground, scale, proportion
and pattern, are used to produce visual communications that satisfy a stated purpose. Experimentation
and exploration occur throughout the development of ideas in the testing and reviewing of the
relationship between applied elements and principles and the requirements specified in the stated
purpose. In this area of study, the term ‘purpose’ can be understood as one or more purposes.
Outcome 3
On completion of this unit the student should be able to explore and apply design elements and
principles to satisfy a stated purpose.
study 3.
Key knowledge
• a range of design elements, including colour, shape, line, tone, texture, form, letterform and
point, and principles, including balance, contrast, cropping, hierarchy, figure–ground, scale,
proportion and pattern, applied in the development of freehand drawings;
• design elements and principles used to produce visual communications that satisfy a stated
purpose;
• manual freehand drawings, information and communications technology applications and, where
appropriate, other methods of electronic image generation such as photography and photocopying
in the exploration and application of design elements and principles.
Key skills
• use a range of design elements and principles in the development of manual freehand drawings;
• use information and communications technology to explore design elements and principles and,
where appropriate, other methods of electronic image generation such as photography and
photocopying;
• use design elements and principles to produce visual communications that satisfy a stated
purpose;
• generate and develop design alternatives using a range of design elements and principles;
• select and refine a design solution to suit a stated purpose.
14 VCE STUDY DESIGN

AREA OF STUDY 4
Design process
This area of study focuses on components of the design process and how it is applied in the production
of visual communications. The design process initially involves identification of a visual communication
need establishing the purpose of the visual communication. Information is then researched and ideas
generated in order to establish how the visual communication need could be best satisfied through
the production of visual communications. Materials, methods, media, design elements and principles
are trialled and tested throughout the design process prior to the completion of final presentations.
Ongoing review and evaluation of proposed design solutions relative to the initial visual
communication need is a feature of the design process.
Outcome 4
On completion of this unit the student should be able to describe the nature of the design process in
the production of visual communications.
study 4.
Key knowledge
• methods for gathering and organising information about the communication need;
• methods for generating ideas, such as discussion, group interaction and using existing examples
of visual communication;
• the purpose of the production of visual communication, such as the need of the client/s and the
audience/s;
• materials, methods, media and final presentations used to make visual communications;
• design elements and principles used to make visual communications that satisfy the stated
purpose;
• procedures and techniques for evaluating and testing ideas for possible visual communication
solutions;
• the cyclical nature of the design process.
Key skills
• describe the research methods required to gather information for a communication need;
• describe methods for generating ideas prior to developing visual solution/s for a communication
need;
• describe factors such as audience and client needs in determining the purpose of the production
of specific visual communication/s;
• identify the materials, methods, media and final presentations that satisfy the stated purpose;
• identify the design elements and principles that satisfy the stated purpose;
• describe strategies for evaluating and testing ideas that satisfy the stated purpose.
VCE STUDY DESIGN 15

ASSESSMENT
assessment of the student’s overall performance on assessment tasks designated for the unit.
The key knowledge and skills listed for each outcome should be used as a guide to course design and
the development of learning activities. The key knowledge and skills do not constitute a checklist
and such an approach is not necessary or desirable for determining the achievement of outcomes.
The elements of key knowledge and skills should not be assessed separately.
Assessment tasks must be a part of the regular teaching and learning program and must not unduly
add to the workload associated with that program. They must be completed mainly in class and
within a limited timeframe. Teachers should select a variety of assessment tasks for their assessment
program to reflect the key knowledge and skills being assessed and to provide for different learning
styles.
For this unit students are required to demonstrate achievement of four outcomes. As a set these
outcomes encompass all areas of study.
Demonstration of achievement of Outcome 1 must be based on the student’s performance on the
following assessment task:
• a folio of instrumental drawings of objects.
• a folio of drawings of objects that show one-point and two-point perspective drawing, rendering
techniques, proportion, scale, and relationship of objects.
• a folio of visual communications that use design elements and principles to satisfy stated
purpose/s.
• a written response and/or oral report supported by visual material describing the design process
in the production of visual communications.
16 VCE STUDY DESIGN

The main purpose of this unit is to enable students to develop and refine practical skills by generating
images and developing them through freehand drawing, instrumental drawing and the use of
information and communications technology. In the development of visual communications, this
unit enables students to develop an awareness of how the design process facilitates exploration and
experimentation and how information and ideas are communicated.
AREA OF STUDY 1
Representing and communicating form

This area of study focuses on developing skills in communicating visual information and in developing
images through freehand and instrumental drawing. The representation of form, scale and relationships
should be achieved through the appropriate selection of drawing methods including two-dimensional
and three-dimensional representations. Australian Standards conventions should be applied to indicate
correct dimensioning, cross-sectioning and for the representation of circles in two-dimensional
drawing. In drawing three-dimensional objects, the appropriate representation of circular features
should be shown. The conversion of two-dimensional drawings to three-dimensional representations
and vice versa should be clearly depicted.
Outcome 1
On completion of this unit the student should be able to use freehand and instrumental drawings to
develop images that represent and communicate form.
study 1.
Key knowledge
• drawing methods to communicate form;
• instrumental two-dimensional drawing, labelling and cross-sectioning to Australian Standards
conventions;
• scale in two-dimensional and three-dimensional grouped objects to indicate relationships;
• representations of circles in orthogonal drawing, dimensioning and cross-sectioning to Australian
Standards conventions;
17
• representations of circles and ellipses in paraline drawing;

• conversion from two-dimensional orthogonal views into three-dimensional drawing systems and
vice versa.
Key skills
• select appropriate drawing methods to draw and understand form;
• complete orthogonal drawing to Australian Standards conventions;
• develop paraline projection of objects into orthogonal drawings and vice versa;
• use Australian Standards conventions for dimension and cross-section, and show circular
representations in two-dimensional drawing;
• show circular representation in three-dimensional drawing;
• apply scale to both a two-dimensional and three-dimensional drawing;
• represent grouped objects using instrumental drawing;
• use correct labelling techniques and symbols in orthogonal drawings.
AREA OF STUDY 2
Developing imagery
This area of study focuses on the application of freehand drawing and rendering and the methods of
application that effectively represent form. Both one-point and two-point perspective drawing is
used in the development of imagery, which depicts the surface details of an object, including materials
and texture. Similarly, the effect of light and shadow on the features of an object are illustrated and a
range of media, design elements and principles are applied. In the depiction of selected images,
design principles such as scale and hierarchy are applied to illustrate the relationships that exist
between objects on a picture plane.
Outcome 2
On completion of this unit the student should be able to use freehand drawings in the development of
rendered three-dimensional images.
study 2.
Key knowledge
• drawing methods to communicate form;
• freehand drawing including one-point and two-point perspective;
• rendering of forms using direction of light, shade and shadow;
• rendering of forms by applying a range of media to represent surfaces, materials and texture;
• media, design elements, design principles, and rendering techniques in the development of images;
• scale in three-dimensional grouped objects to indicate hierarchy, relationship and position in a
picture plane.
18 VCE STUDY DESIGN

Key skills
• use freehand drawing to assist in the communicating of form;
• complete one-point and two-point perspective drawings;
• render form to show the play of light, shade and shadow;
• render form to show surfaces, materials and texture;
• use a range of media, design elements, design principles, and rendering techniques to develop
images;
• use scale in three-dimensional grouped objects to indicate hierarchy, relationship and position in
a picture plane.
AREA OF STUDY 3
Developing visual communication solutions

This area of study focuses on applying the design process in the development of visual communication
solutions to set tasks. The tasks may vary in their purpose, context, target audience, materials to be
trialled, media and design elements and principles to be explored. Freehand and instrumental drawing
together with information and communications technology and, where appropriate, other methods of
electronic image generation such as photography and photocopying are used to express varied concepts
and to develop solutions. Following the analysis of material and research related to the set task, the
proposal of solutions and refinement of ideas occur during the application of the design process. In
this area of study, the terms ‘solution’ and ‘task’ can be understood either as one or more solutions or
tasks.
Outcome 3
On completion of this unit the student should be able to apply a design process to develop a visual
communication solution to a set task.
study 3.
Key knowledge
• purposes of a visual communication solution in relation to a specified audience and context;
• manual freehand drawing and information and communications technology applications, and,
where appropriate, other methods of electronic image generation such as photography and
photocopying to develop a visual communication solution;
• materials, methods, media, design elements and design principles to explore a possible visual
communication solution;
• refinement of possible visual communication solutions to suit the set task.
VCE STUDY DESIGN 19

Key skills
• research and analyse information relevant to the set task;
• apply a design process using manual freehand drawing and information and communications
technology and, where appropriate, other methods of electronic image generation such as
photography and photocopying to develop possible visual communication solutions;
• refine ideas for the visual communication solutions through the application of a design process;
• develop visual communication solutions appropriate to the set task.
AREA OF STUDY 4
Visual communication in context

This area of study focuses on how cultural and historical factors influence the communication of
information and ideas in both contemporary and historical visual communications. The influence of
materials, methods, media, design elements, design principles and final presentations on the visual
communication within these contexts is also considered. The influence of historical styles and
movements on contemporary visual communications are also analysed. In the discussion of examples
of both contemporary and historical visual communications, the influence of social factors such as
changes in fashion, social values and current issues would be analysed. Visual communication
terminology is used throughout the analysis of examples of visual communications. In this area of
study, the terms ‘style’ and ‘movement’ can be understood either as one or more styles or movements.
Outcome 4
On completion of this unit the student should be able to describe and analyse contemporary and
historical examples of visual communications and explain how they communicate ideas, present
information and reflect influences.
study 4.
Key knowledge
• the ways in which information and ideas are communicated visually;
• the influence of a historical style and movement on contemporary visual communications;
• the influence of cultural and historical factors, such as fashion, social issues and values, on
contemporary and historical examples of visual communications.
Key skills
• describe how the use of materials, methods, media, design elements, design principles and final
presentations communicate information and ideas;
• discuss how a historical style and movement influences the production of contemporary visual
communications;
• use visual communication terminology to describe and analyse contemporary and historical
examples of visual communications.
20 VCE STUDY DESIGN

ASSESSMENT
assessment of the student’s overall performance on assessment tasks designated for the unit.
within a limited timeframe. Teachers should select a variety of assessment tasks for their assessment
program to reflect the key knowledge and skills being assessed and to provide for different learning
styles.
For this unit students are required to demonstrate achievement of four outcomes. As a set these
outcomes encompass all areas of study.
• a folio of instrumental drawings of objects that includes paraline drawing, scale, Australian
Standards conventions in dimensioning, cross-sectioning and circular representations, conversion
of two-dimensional orthogonal views into three-dimensional drawing systems and vice versa.
• a folio of freehand drawings of objects that shows development of rendered three-dimensional
images.
• a folio of visual communication solution/s to set task/s.
• a written response, supported by visual material, that describes and analyses contemporary and
historical examples of visual communications;
or
• a PowerPoint presentation supported by visual material and speaker’s notes.
VCE STUDY DESIGN 21

The main purpose of this unit is to enable students to develop an understanding of visual communication
production through the application of the design process to satisfy specific communication needs.
Within the unit, students consider existing visual communication and analyse and evaluate examples.
Students will also investigate the production of visual communications in a professional setting and
examine the nature of professional practice in the design and production of visual communications.
AREA OF STUDY 1
Visual communication design

This area of study focuses on the application of the design process to satisfy a stated visual
communication need. In response to this defined need, research provides material for analysis and
manual drawing is used to generate concepts and ideas relevant to the original visual communication
need. Design elements, principles, media and materials are applied in the development of design
alternatives. Freehand and instrumental drawing, featuring Australian Standards conventions where
required, are also applied in the generation and development of ideas related to the original need.
Instrumental drawing, using manual or electronic methods, including third-angle orthogonal, paraline
and perspective drawing, are used to demonstrate form and, where appropriate, function relevant to
the communication need. Throughout the application of the design process, ongoing evaluation occurs,
demonstrating the selection and refinement of concepts appropriate to the visual communication
need. The development and refinement of ideas using a range of image generation methods including
information and communications technology, culminates in a final presentation. In this area of study,
the terms ‘need’ and ‘presentation’ can be understood either as one or more needs or presentations.
Outcome 1
On completion of this unit the student should be able to apply the design process to produce a final
visual communication presentation that satisfies a specified communication need.
22
study 1.
Key knowledge
• a communication need that defines the focus of a final presentation;
• the cyclical nature of the design process, including ongoing evaluation and the development of
design alternatives;
• information, media and material relevant to the communication need during the developmental
work and the final presentation; for example, digital information, freehand drawing, and paper,
card, pencil and dye;
• design elements, including colour, line, tone, texture, form, shape, point and letterform in
developmental work and the final presentation;
• design principles, including figure–ground, balance, contrast, cropping, hierarchy, scale, proportion
and pattern in developmental work and the final presentation;
• manual freehand drawing techniques, including drawings from observation, to generate concepts
and ideas relevant to the communication need in developmental work;
• two-dimensional and three-dimensional manual drawing, including third-angle orthogonal, paraline
(isometric and planometric) and perspective drawings in developmental work and, where
appropriate, in a final presentation;
• information and communications technology applications in developmental work and, where
appropriate, in a final presentation, and in other methods of electronic image generation such as
photography and photocopying;
• a final presentation that satisfies a specified need.
Key skills
• describe the communication need;
• research and analyse information relevant to the communication need;
• apply manual drawing, including freehand drawing and drawing from direct observation, to
generate concepts and ideas relevant to the communication need;
• apply a range of materials, media, design elements and principles to develop design alternatives
appropriate to the communication need;
• produce orthogonal drawings observing Australian Standards conventions, including correct
dimensioning and labelling techniques appropriate to the communication need;
• use drawing methods appropriate to the communication need to demonstrate form and, where
appropriate, function, including third-angle orthogonal, paraline (isometric and planometric) and
perspective drawing;
• apply information and communications technology and, where appropriate, other methods of
electronic image generation such as photography and photocopying appropriate to the
communication need;
• select and develop design alternatives to suit the communication need;
• evaluate alternative designs to satisfy a defined communication need;
• refine a selected design to produce a final presentation to suit the communication need;
• produce a final presentation to satisfy the stated communication need.
VCE STUDY DESIGN 23

AREA OF STUDY 2
Visual communication analysis

This area of study focuses on the analysis and evaluation of examples of visual communication. It
includes the audiences and purposes of visual communication and the ways in which information is
communicated to a desired audience. The use of the materials, methods, media, design elements,
design principles and final presentations in visual communication is described and the application of
design elements and principles evaluated.
Outcome 2
On completion of this unit the student should be able to analyse and evaluate the effectiveness of a
range of visual communications.
study 2.
Key knowledge
• the factors that influence ways in which information is expressed in relation to the intended
purpose/s of visual communications;
• the audience to whom the visual communication is directed;
• the intended purpose/s of visual communications; for example, to advertise, promote, depict,
teach, inform, and/or guide;
• the ways used to attract attention and maintain interest in visual communications; for example,
location, context, humour, and/or emotive imagery;
• the ways in which standards and/or conventions, where appropriate, contribute to the communication
of information and/or ideas in visual communications;
• design elements, including point, line, shape, form, tone, texture, colour and letterform used in
visual communications;
• design principles, including figure–ground, balance, contrast, cropping, hierarchy, scale, proportion
and pattern used in visual communications;
• the material/s, methods, media and final presentation/s used in visual communications.
Key skills
• discuss ways in which visual communications are used to communicate information for specific
audiences;
• describe the purpose/s of visual communications;
• describe material/s, methods, media and final presentation/s used in the production of visual
communications;
• describe the use of standards and/or conventions where appropriate;
• discuss how design elements and principles are evident and are applied in collaboration in visual
communications to convey information and/or ideas;
• evaluate the application of design elements and principles used in visual communications to
convey information and/or ideas.
24 VCE STUDY DESIGN

AREA OF STUDY 3
Professional practice in visual communication

This area of study focuses on the relationship between the clients, professional designers and, where
appropriate, specialist professional personnel in a professional setting. In the design and production
stages of the design process, client initiated design briefs are used by professional designers and,
where appropriate, specialist professional personnel to prepare solutions to fulfil the requirements of
the brief. In preparing these solutions decisions are made about materials, methods, media, design
elements and principles that are the most appropriate and related to the requirements of the design
brief. In this area of study, the term ‘brief’ can be understood as one or more briefs.
Outcome 3
On completion of this unit the student should be able to discuss the roles and relationships involved
in the design and production of visual communications in the context of professional practice.
study 3.
Key knowledge
• the role of a client/s and a design brief in establishing and/or defining a communication need/s at
stages throughout the design and production of visual communications;
• ways in which professional designers respond to and/or evaluate a design brief at stages throughout
the design process; for example, researching information, exploring alternative approaches, refining
design options or interpreting ideas and data related to the intended market, time constraints or
specific needs of the client;
• the skills applied by professional designers and, where appropriate, their working relationship
with specialist/s, in the design and production of visual communications;
• decisions made during the design and production of visual communications about choice of
materials, methods, media, design elements and design principles to fulfil a design brief;
• ways in which information and communications technology are used at stages throughout the
design and production of visual communications.
Key skills
• discuss the significance of a design brief at stages throughout the production of visual
communications;
• discuss the relationship between the client and designers and, where appropriate, other specialist
personnel, at stages throughout the production of visual communications;
• describe ways in which professional designers respond to and/or evaluate a design brief at stages
throughout the design process;
• identify and describe the skills applied by professional designers at stages throughout the design
and production of visual communications;
• discuss reasons for decisions made by designers to satisfy the requirements of a brief at stages
throughout the design and production of visual communications; for example, ethical, financial
and philosophical;
• discuss the use of information and communications technology in the design and production of
visual communications.
VCE STUDY DESIGN 25

ASSESSMENT
assessment of the student’s overall performance on assessment tasks designated for the unit. The
Victorian Curriculum and Assessment Authority will publish an assessment handbook which will
include advice on the assessment tasks and performance descriptors for assessment.
Assessment of levels of achievement

The student’s level of achievement in Unit 3 will be determined by school-assessed coursework and
an end-of-year examination.
Contribution to final assessment

School-assessed coursework for Unit 3 will contribute 33 per cent to the study score.
The level of achievement for Units 3 and 4 is also assessed by an end-of-year examination, which
will contribute 34 per cent to the study score.
School-assessed coursework
Teachers will provide to the Victorian Curriculum and Assessment Authority a score representing an
assessment of the student’s level of achievement.
The score must be based on the teacher’s rating of performance of each student on the tasks set out in
the following table and in accordance with an assessment handbook published by the Victorian
Curriculum and Assessment Authority. The assessment handbook will also include advice on the
assessment tasks and performance descriptors for assessment.
within a limited timeframe. Where optional assessment tasks are used, teachers must ensure that the
tasks are comparable in scope and demand. Teachers should select a variety of assessment tasks for
their program to reflect the key knowledge and skills being assessed and to provide for different
learning styles.
26 VCE STUDY DESIGN

Outcomes Marks allocated* Assessment tasks
Outcome 1
Apply the design process to produce a final visual A folio.
60
communication presentation that satisfies a
specified communication need.
Outcome 2 The analysis and evaluation should take one of

Analyse and evaluate the effectiveness of a range the following forms: an essay, a written report, a
20
of visual communications. test – structured questions, an annotated visual
report, or another appropriate format.
Outcome 3 The task should take one of the following forms:

Discuss the roles and relationships involved in the an essay, a written report, a test – structured
20
design and production of visual communications in questions, an annotated visual report, or another
the context of professional practice. appropriate format.
Total marks 100
*School-assessed coursework for Unit 3 contributes 33 per cent to the study score.
VCE STUDY DESIGN 27

The main purpose of this unit is to enable students to apply their knowledge of the components of the
design process in the preparation of one design brief. Students apply their practical skills to the
development and production of two distinct final visual communication presentations through
application of the design process and based on the requirements of the brief.
AREA OF STUDY 1
The brief
This area of study focuses on the preparation of a brief that proposes and defines the communication
need of a client. The brief identifies the need of the client (including two possible distinct final
presentations on two presentation formats), identifies the audience/s, purposes and contexts, and
specifies any related constraints and expectations. In this area of study, the terms ‘need’ and ‘purpose’
can be understood either as one or more needs or purposes.
Outcome 1
On completion of this unit the student should be able to prepare one brief that describes a client’s
communication need and specifies possible resolutions, and proposes two distinct final visual
communication presentations suitable for a stated audience/s.
study 1.
Key knowledge
• the communication need of a client, including constraints and expectations;
• the purpose, including the audience characteristics, of each visual communication;
• the context and presentation format of each visual communication; for example, a billboard located
on a freeway, an interactive website, an A4 full colour magazine page, an architectural model for
public display.
28
Key skills
• identify the communication need of the client;
• describe the purpose of each visual communication, including audience characteristics;
• propose possible resolutions to the brief for the production of two distinct final visual communication
presentations on two presentation formats.
AREA OF STUDY 2
Developmental work
This area of study focuses on the application of the design process to produce developmental work
consistent with the requirements of the brief. The design process initially involves researching and
analysing information related to the brief. Initial concepts based on this analysis are then developed
and refined. This part of the design process involves experimentation with materials, methods
(including freehand drawing), media, design elements, design principles and presentation formats in
order to develop imaginative solutions for the proposed two distinct final visual communication
presentations. The selection of the preferred options for final presentations involves the production
of mock-ups. Throughout the design process the developmental work (including mock-ups) is
evaluated to ensure client need/s, intended purpose/s and audience/s are being satisfied. Final creative
and technical decisions are made about the developmental work in order to satisfy the requirements
of the brief.
Outcome 2
On completion of this unit the student should be able to prepare developmental work that explores
design concepts relevant to the requirements of the brief developed for Outcome 1 and fulfils the
requirements of that brief.
study 2.
Key knowledge
• the cyclical nature of the design process, including ongoing evaluation in response to the brief;
• information researched, analysed and interpreted to fulfil the specifications of the brief;
• the range of design concepts explored, developed and refined through the application of materials,
methods, including freehand drawing, media, design elements, design principles, and
presentation formats (for example, two-dimensional surfaces and three-dimensional models);
• two-dimensional and three-dimensional applications, for example two-dimensional layout, three-
dimensional form;
• selection and further development of possible solutions to satisfy the brief in terms of the client
need/s, purpose/s, and intended audience/s;
• the layout of the information to refine the preferred options, including concept drawings and
mock-ups.
VCE STUDY DESIGN 29

Key skills
• apply the design process appropriate to the brief;
• research, analyse and interpret information relevant to the brief;
• generate, explore and develop design concepts using and applying design elements, design
principles and presentation formats;
• experiment with the application of media, methods and materials;
• use two-dimensional and three-dimensional applications;
• select and further develop possible design solutions appropriate to the brief;
• refine the layout of the information of the preferred option;
• apply appropriate Australian Standards conventions if required by the brief;
• annotate and evaluate the design concepts explored in the developmental work.
AREA OF STUDY 3
Final presentations
This area of study focuses on the final phase of the design process. Two distinct final visual
communication presentations are produced on two presentation formats. These are in addition to the
work completed as part of the developmental work for Outcome 2. Each final presentation should be
based on the content of the brief, and the approach taken and solutions developed during the design
process in the application of materials, methods, media, design elements and principles. The final
presentations should reflect technical competence in the methods developed and refined during the
design process and be consistent with Australian Standards conventions, where appropriate.
Outcome 3
On completion of this unit the student should be able to produce two distinct final visual communication
presentations that satisfy the requirements of the brief developed for Outcome 1.
study 3.
Key knowledge
• ways of presenting information effectively and imaginatively in the two distinct final visual
communication presentations in relation to the specifications of the brief;
• development of two distinct final visual communication presentations on two presentation formats
in relation to the specifications of the brief.
Key skills
• produce two distinct final presentations that are distinguishable in terms of purpose (where
appropriate), context and presentation format;
• produce two distinct final presentations that are clearly distinguishable from the developmental
work through, for example, labelling and/or identification of how the final presentations will be
used by the client;
30 VCE STUDY DESIGN

• produce two distinct final presentations on two presentation formats that satisfy client need/s,
purpose/s, and intended audience/s;
• produce two distinct final presentations that demonstrate the application of appropriate material/s,
method/s, media, design elements and principles;
• produce two distinct final presentations that demonstrate technical competence in the production
of visual communications.
ASSESSMENT
assessment of the student’s overall performance on assessment tasks designated for the unit. The
Victorian Curriculum and Assessment Authority will publish an assessment handbook which will
include advice on the assessment tasks and performance descriptors for assessment.
Assessment of levels of achievement

The student’s level of achievement for Unit 4 will be determined by a school-assessed task and an
end-of-year examination.
Contributions to final assessment

The school-assessed task for Unit 4 will contribute 33 per cent to the study score.
The level of achievement for Units 3 and 4 is also assessed by an end-of-year examination, which will
contribute 34 per cent to the study score.
School-assessed task
Assessment for Visual Communication and Design includes a school-assessed task. For this assessment
teachers will provide to the Victorian Curriculum and Assessment Authority a score representing an
assessment of the student’s level of performance in achieving Outcomes 1, 2 and 3 in Unit 4 according
to criteria published in an assessment handbook. This assessment will be subject to review by a panel
appointed by the Victorian Curriculum and Assessment Authority.
VCE STUDY DESIGN 31

Outcomes Marks allocated* Assessment tasks
Outcome 1
Prepare one brief that describes a client’s A written brief for a client that includes
Subject to
communication need and specifies possible a description of two distinct visual
external
resolutions, and proposes two distinct final visual communication presentations.
review
communication presentations suitable for a stated
audience/s.
Outcome 2
Prepare developmental work that explores design Subject to A developmental folio.
concepts relevant to the requirements of the brief external
developed for Outcome 1 and fulfils the review
requirements of that brief.
Outcome 3
Subject to
Produce two distinct final visual communication Two distinct final visual communication
external
presentations that satisfy the requirements of the presentations on two presentation formats.
review
brief developed for Outcome 1.
End-of-year examination
Description
Students will be required to answer a series of questions related to Units 3 and 4. The questions will
focus on:
• knowledge of drawing methods and skill in drawing and rendering;
• development of solutions to visual communication tasks;
• analysis and evaluation of examples of visual communication;
• processes and procedures used to produce visual communications.
Units 3 and 4 are a sequence in which the key knowledge and skills of the study are consolidated
over the year. In particular, Unit 3 Outcome 1 drawing methods, including orthogonal, paraline and
perspective, skills in rendering and the ability to apply the design process in the production of visual
communications, are further developed and refined in Unit 4. The end-of-year examination provides
the opportunity for students to demonstrate a better understanding of and practical skills in the
production of visual communications. Unit 4 Outcome 1 is not examinable.
Format
All questions will be compulsory for all students.
The examination will contain questions that will require students to:
• draw and/or render solutions to visual communication tasks;
• design solutions to visual communication tasks that involve developmental work and/or final
presentations;
• apply knowledge of drawing methods and the design process to stimulus material and/or the
student’s own work completed during the examination;
• write extended and short responses which may require the preparation of drawings to accompany
these responses.
32 VCE STUDY DESIGN

All question types may not appear year to year.

Some questions will require students to respond to stimulus material such as drawings, written
passages, diagrams, advertisements, graphs, tables and other visual images. Practically based questions
will include:
• drawing;
• rendering;
• designing;
• applying knowledge of drawing methods and the design process.
The marks in the examination will be allocated in the following way:
Outcomes examined Approximate mark allocation in final

examination paper (%)
Practically based questions (Unit 3 Outcome 1 60–70%

and Unit 4 Outcomes 2 and 3)
Analysis of visual communications (Unit 3 Outcome 2) 15–20%
Professional practice (Unit 3 Outcome 3) 15–20%
Students will not be required to use information and communications technology in the examination.
The examination will be set by a panel appointed by the Victorian Curriculum and Assessment
Authority.
Conditions
The examination will be completed under the following conditions:
• Duration: one and a half hours.
• Date: end-of-year, on a date to be published annually by the Victorian Curriculum and Assessment
Authority.
• Victorian Curriculum and Assessment Authority examination rules will apply. Details of these
rules are published annually in the VCE Administrative Handbook.
• The examination will be marked by a panel appointed by the Victorian Curriculum and Assessment
Authority.
Contribution to final assessment

The examination will contribute 34 per cent to the study score.
VCE STUDY DESIGN 33

Advice for teachers
DEVELOPING A COURSE
A course outlines the nature and sequence of teaching and learning necessary for students to
demonstrate achievement of the set of outcomes for a unit. The areas of study broadly describe the
knowledge required for the demonstration of each outcome. Outcomes are introduced by summary
statements and are followed by the key knowledge and skills which relate to these outcomes.
Teachers must develop courses that include appropriate learning activities to enable students to develop
the knowledge and skills identified in the outcome statements in each unit.
For Units 1 and 2, teachers must select assessment tasks from the lists provided. Tasks should provide
a variety and the mix of tasks should reflect the fact that different types of tasks suit different knowledge
and skills. Tasks do not have to be lengthy to make a decision about student demonstration of
achievement of an outcome.
In Units 3 and 4, assessment is more structured. For school-assessed coursework, examples of
assessment tasks are listed. The contribution that each task makes to the total school-assessed
coursework is also stipulated. Assessment for Units 3 and 4 also includes a school-assessed task. The
school-assessed task will be initially assessed by teachers using criteria published annually by the
Victorian Curriculum and Assessment Authority and will be subject to external review.
Uses of visual communication
Typical field of practice

Graphic Design Information design
Multimedia Design Designing and presenting visual information that uses
Advertising/Marketing combinations of materials, methods and media to convey
➜
Illustration information with sketches, concept and working drawings,
Package/Surface Design and associated mock-ups.
Corporate Design
Typography
Architectural Design Environmental design
Drafting Designing and presenting visual information of built/
Interior Design constructed environments with sketches, concept and
➜
Landscape Design working drawings, and associated models/constructions,
Cartography maps, diagrams or illustrations.
Set Design
Exhibition/Display Design
Engineering Design Product design
Industrial Design Designing and presenting visual information of manufactured
➜
Furniture Design products with sketches, concept and working drawings, and
Fashion Design associated models/constructions, diagrams or illustrations.
34
VISUAL COMMUNICATION AND DESIGN Advice for teachers
Components of a design process

The production of a piece of visual communication involves definition of the communication need,
research and use of examples for the inspiration, generation, development and refinement of ideas,
ongoing evaluation and the production of final presentations. The table below identifies the components
of a design process.
Definition of the Research – for Generation, development Production and

➜ ➜ ➜
communication need information and ideas and refinement of ideas evaluation
Establish: Requires Requires Requires:

• client needs Research skills Application of • mock-ups of
• purpose/s including: researched information presentation formats
• audience/s • collection and inspiration through: • evaluation of mock-
• context/s • analysis • the exploration of a ups
• interpretation range of ideas • production of final
of information • annotated and critical presentations
appraisal.
Implementation of a
variety of trialled:
• materials
• methods
• media
• design elements
• design principles
• presentation formats.
Selection, refinement
and implementation of
best solutions according
to established:
• client needs
• purpose/s
• audience/s.
and application of
selected:
• materials
• methods
• media
• design elements
• design principles
• presentation formats.
VCE STUDY DESIGN 35

Advice for teachers VISUAL COMMUNICATION AND DESIGN
Producing visual communications

In the production of a visual communication, materials are modified by methods and media, according
to design elements and design principles, to create final presentations. The table below identifies
materials, methods, media, design elements, design principles and presentations that could be used
in the production of a piece of visual communication.
Design Design Final

Materials ➜ Methods ➜ Media ➜ ➜ ➜
elements principles presentations
paper DRAWING point figure–ground map

card freehand pencil, paint, line balance graph
wood orthogonal ink, dye marker, shape contrast
symbol
glass paraline pastel, crayon, form cropping
diagram
metal perspective airbrush tone hierarchy
clay texture scale chart
PRINTING
stone colour proportion illustration
monoprint ink, dye
plastic letterform pattern instrumental
relief
textile – repetition drawing
intaglio
offset – alternation architectural
silk screen drawing
3-D model/
PHOTOGRAPHY
form
black and white dye, emulsion
colour film poster
positive digital flyer/brochure
reversal package
PHOTOCOPY logo/
black and white toner corporate
colour identity
signage
COMPUTER
digital 2-D layout
image
type information multimedia
3-D PROCESS
construction knife, glue,
moulding scissors
36 VCE STUDY DESIGN

Design elements and design principles

The list of design elements and principles included in this study design have to be studied. However,
others may be incorporated as appropriate.
Design elements
Design elements could be considered as the marks we make on the surface or page. In this study
design they are considered to be: point, line, shape, form, tone, texture, colour, letterform.
Point
This is a mark which may indicate position and location. It can
represent a point of measure or be used in a purely decorative
way. Examples worth considering are computer pixels, film grain,
pointillism, map indicators, a bulleted list and dot rendering.
Line
Essentially, line represents a single dimension, length. It can be
straight, curved or irregular and combine with other elements.
It can create shape, tone, form and texture. The weight and
quality of the line may vary depending on its intended use.
Examples worth considering are pencil grades, cross hatching
and etchings.
Shape
Shape is the space contained within lines. Shapes can be organic
or geometric and can be used in conjunction with other elements
to create form. Shape is two-dimensional. Examples worth
considering are geodesic domes, Stonehenge, The Bauhaus
and Marc Newson.
Form
Form may be created by the joining of two or more shapes. It
may be enhanced by tone, texture and colour. Form is
considered three-dimensional. It can be illustrated or
constructed. Examples worth considering are the pyramids, the
architecture of Frank O’Gehry and three-dimensional computer
modelling.
VCE STUDY DESIGN 37

Tone
Tone may be used to describe form in terms of its shadows and
highlights, and to create the effect of two-dimensional and three-
dimensional volume. Examples worth considering are black and
white photography, cross hatching, Chiaroscuro.
Texture
Texture may be achieved by the combination of elements such
as point and line. It may be applied in a realistic or abstract style
to create an arbitrary pattern or to simulate the finish of a material.
Examples worth considering are frottage, mixed media, tapestry
weaves.
Colour
Colour should be considered in conjunction with the other
elements. If used well it can add interest and excitement to a
piece of visual communication. Colour may be used to specify
areas, distinguish form, and highlight compositional aspects such
as hierarchy. Examples worth considering are Fauvism, stained
glass windows, RGB monitors.
Letterform
Letterform can be an abstract physical representation of the
spoken word and can be manipulated to have an impact on the
quality of the visual message. Letterform can be used to express
a word visually and to creatively reinforce the meaning of a word
or act solely as a decorative device. Examples worth considering
are film credits, corporate logos, book titles.
38 VCE STUDY DESIGN

Design principles
Design principles are simply ways of arranging or organising design elements. In this study design
they are considered to be: figure–ground, balance, contrast, cropping, hierarchy, scale, proportion
and pattern (repetition and alternation).
Figure–ground
Figure and ground work together within images to establish
the importance of visual information within a picture plane.
‘Figure’ refers to images that are more visually dominant than
the ground on which they are placed within a composition.
Figure may also be known as ‘positive space’ or ‘form’. Ground
can be known as ‘background’, ‘negative space’ or ‘counter
form’. Examples worth considering are optical art, interior
design, Man Ray’s photography, Henri Matisse, Alexander
Calder’s mobiles and typography.
Balance
This may be ‘symmetrical’ where elements are mirrored on
opposite sides of a visual axis to create a stable and formal
composition, or ‘asymmetrical’ where balanced elements, not
mirrored on opposite sides of a visual axis, create a dynamic
informal composition. Examples worth considering are
Brunelleschi’s architecture, magazine layouts and furniture
designs.
Contrast
All effective combinations of forms are based on qualitative
contrasts. Contrast should always be thought of in terms of
creating tension between opposites: large–small, light–dark,
soft–hard, etc. Examples worth considering are serif and sans
serif type, transparency and opacity, matt or gloss surfaces.
Cropping
An image can be modified by selecting an area of interest to
emphasise, create dominance or simply to clarify information.
Examples worth considering are viewfinders and Pop Art.
VCE STUDY DESIGN 39

Hierarchy
Visual information can be arranged in order of importance.
Factors determining the hierachy may be the size, colour or
placement of the visual components and/or the arrangement of
the information. For example, the focal point of a composition
draws attention to specific information. Examples worth
considering are letterheads, newspapers and magazines.
Scale
Scale generally refers to the size of the figure on the ground. Its
relative size and scale will determine the hierarchy of visual
components within the presentation. Examples worth
considering are Andy Goldsworthy’s sculpture, Ladislav Sutnar
and Piet Mondrian’s paintings.
Proportion
This is the comparative relationship between the size of
components or parts of components within a visual presentation.
Examples worth considering are the Golden Section, Palladio’s
architecture and ergonomics.
Pattern
Pattern is the repetition or alternation of one or more components
to create a visual unit. Any visual element can be used to create
a pattern. Repetition can be very powerful in creating a sense of
Repetition Alternation Pattern order in a piece. Alternation can create more complex patterns
than those created by repetition alone. Examples worth
considering are textile design, aerial photography, camouflage
and the Seagram Building.
40 VCE STUDY DESIGN

Drawing methods
The drawing systems are orthogonal, paraline and perspective.
Two-dimensional
Orthogonal: Three-dimensional objects are drawn in separate
but aligned two-dimensional views: a top view, and front and
side views which may include sectional views.
(The Australian Standards Association publication, Technical
Drawing for Students, SAA/SNZ HBI: 1994, Standards Australia,
Homebush NSW, provides explanations of rules and
conventions.)
Three-dimensional
Paraline: Objects are drawn with the receding lines remaining
parallel to each other (hence the term ‘para-line’). Paralines may
be:
Oblique: The front of the object is drawn straight on and the
sides usually recede at 45 degrees.
Isometric: Both sides of the object recede at 30 degrees.
Planometric: The base and top of the object retain their true
shape, but are drawn on an angle so that both sides recede at
45 degrees (or one side recedes at 30 degrees and the other at
60 degrees).
Perspective: Objects are drawn in a way which approximates

human vision because the receding lines converge towards the
horizon rather than remain parallel to each other.
VCE STUDY DESIGN 41

USE OF INFORMATION AND COMMUNICATIONS TECHNOLOGY
In designing courses and developing learning activities for Visual Communication and Design, the
use and application of information and communications technology such as computer-based learning,
multimedia and the World Wide Web is an integral component of Unit 1 Outcome 3, Unit 2 Outcome
3 and Unit 3 Outcome 1.
The use of computers, digital cameras, scanners, printers and reprographic equipment, such as
omnichrome, photocopiers and cameras, are also encouraged in other outcomes in this study.
A range of software programs can be used in the completion of outcomes. These might include CAD
programs such as AutoCAD or QuickCAD, digital imaging programs such as Adobe Photoshop or
Illustrator, Corel Draw and Macromedia Freehand, publishing programs such as QuarkXPress or
PageMaker and Microsoft Word for written tasks. Other programs may be selected as appropriate.
KEY COMPETENCIES/EMPLOYABILITY SKILLS
Students undertaking the following types of assessment, in addition to demonstrating their understanding
and mastery of the content of the study, typically demonstrate the following generic/employability skills.
Task type Generic/Employability skills
Folio Planning and organisation
Developmental folio Self management, planning and organisation
Written response Planning and organisation, (written) communication
Written brief Initiative and enterprise, teamwork (with ‘client’)
Oral report Planning and organisation, (oral) communication
Test Problem solving, planning and organisation, (written) communication,

self management
Structured questions Problem solving, planning and organisation
Annotated visual report Initiative and enterprise, technology
Essay Planning and organisation, (written) communication
LEARNING ACTIVITIES
Examples of learning activities for each unit are provided in the following sections. Examples
highlighted by a shaded box are explained in detail in accompanying boxes. The examples that make
use of information and communications technology are identified by this icon .
42 VCE STUDY DESIGN

AREA OF STUDY 1: Instrumental drawing
Outcome 1 Examples of learning activities
Complete introduce two-dimensional orthogonal drawing and related ASA conventions, then
instrumental introduce the three-dimensional drawing methods through explanation,
drawings using a demonstration and application using a worksheet that gradually increases the level
range of paraline of expertise required
drawing systems.
progressively use simple block based objects to develop understanding of more
two-dimensional and three-dimensional complex forms
provide a worksheet with a range of different orthogonal problems, increasing in

difficulty; students may sketch the solutions to these problems prior to commencing
the instrumental response in their development books; introduce the skills of
instrumental drawing using manual drawing techniques
introduce the skills of electronic instrumental drawing through the development of

orthogonal views using programs such as Corel Draw/Adobe Illustrator or Autodesk,
AutoCAD/Graphsoft MiniCAD
introduce three-dimensional paraline drawing systems by providing students with a

worksheet with a range of simple three-dimensional objects that are to be
reproduced in all three drawing systems, i.e. oblique, isometric and planometric,
using manual and/or electronic drawing methods
taking two-dimensional orthogonal drawings produce a three-dimensional paraline

drawing in response; then reverse this process by presenting a paraline drawing/s,
requiring an orthogonal response using a manual and/or electronic instrumental
drawing method
provide simple three-dimensional objects (grouped arrangement of licorice blocks;

cup, saucer and teapot; plumbing pipes such as plastic straights, joins, elbows) and
produce these as a set of orthogonal and related paraline instrumental drawings; to
advance students, select objects with more complex forms such as a toaster, kettle,
mobile phone
Detailed example
INTRODUCE PARALINE DRAWING METHODS
Students draw a freehand view of a simple block Using instruments, redraw the same
form. arrangement as an orthogonal drawing.
Add another block, offset on the first, and produce Using instruments, produce a measured
a freehand oblique drawing. isometric drawing.
Add another block, again offset and produce a Apply fineliner to ink in the completed drawings
freehand isometric drawing. according to conventions.
Using this same arrangement produce a This task can be extended by using a more
planometric drawing. complex base form such as a triangle or
irregular shaped blocks such as an ‘L’.
VCE STUDY DESIGN 43

AREA OF STUDY 2: Freehand drawing and rendering
Draw from direct introduce one- and two-point freehand perspective drawing and locate horizon
observation, in line, vanishing point/s from existing images
proportion, and
render the draw buildings to explore freehand perspective drawing and observe how light
drawings. falls on surfaces, and how shade and shadow impacts on buildings
select one object and redraw using a range of media and rendering techniques;
set up a ‘still life’ arrangement of objects, draw and observe and record
proportion, scale and relationships, applying rendering skills
use freehand drawing and rendering methods to explore a range of different

textured objects
using both one- and two-point perspective, draw from observation randomly
placed pencils to demonstrate their form and relationship
Detailed example
OBSERVATIONAL DRAWING AND RENDERING TECHNIQUES
Students draw from observation a simple pencils, to expand the richness of the object and
domestic object such as a coffee mug, a water highlight surface textures and finishes.
jug, a spanner.
Using this knowledge, students then explore a
Students draw the object from observation using simple composition of related objects, drawing
freehand drawing and a lead pencil to tonally from observation, noting how light, shadow and
render the object, indicating an awareness of a shade behave.
light source, and the shadow cast.
Students then produce a freehand rendered image
Students redraw this object a number of times of the same composition and apply an appropriate
using a range of rendering methods such as rendering technique using related media to visually
stippling, hatching, etc. to visually expand the enhance the image. This may be a literal or
perception of the object. imaginative interpretation drawn from the initial
exercise.
Students draw the object by using a range of
media such as markers, ink, and coloured
44 VCE STUDY DESIGN

AREA OF STUDY 3: Design elements and design principles
Explore and apply use manual freehand drawing to apply design elements and principles to generate a
design elements and range of initial concepts for a logo to promote a favourite study at school
principles to satisfy a
stated purpose. provide a stated purpose that develops a series of images to instruct users on how
to best care for and operate a product
provide a stated purpose that generates initial ideas for skateboard surface design to
visually enhance its appeal
manually generate concepts using design elements and principles to satisfy a

specified purpose, for example symbols to identify types of activities at an adventure
camp such as beach/surf, ski/outdoors, artistic pursuits, etc.
learn about the scanning process and then scan two preferred concepts into image
manipulation software such as Photoshop; use computers to develop and refine
symbols further
use circular and rectangular shapes to explore the relationship between design
elements and principles; for example, work with a circle shape as ‘figure’ and a
rectangular shape as ‘ground’; provide an image of a circle repeated five times to
form a horizontal line which is placed symmetrically across the rectangle; redraw this
arrangement to demonstrate an asymmetric composition
Detailed example
USING DESIGN ELEMENTS AND PRINCIPLES TO MEET A STATED PURPOSE
Stated purpose: Produce initial concepts for a Students use digital photography to trial
series of images to instruct users on how to best different placements of the product and
care for and operate a product. relationships with the rest of the composition.
They select the best placement of components
Students are provided with a verbal statement
within the composition. They transfer either
outlining a four-step process to be placed on the
developed drawings or photographs (or a mix of
side of cookware packaging.
both) using image manipulation software to
Students use freehand drawing to develop enhance the visual quality of each image. Students
imagery. They explore selected design elements check to ensure an audience can clearly follow
and design principles to represent ideas that best instructions. A caption may be added to support
depict the object and the related instructions. each image.
VCE STUDY DESIGN 45

AREA OF STUDY 4: Design process
Describe the discuss examples of communication needs and the methods that may be used to
nature of the gather and organise information about these needs
design process in
the production of identify purposes of visual communications and discuss how they may relate to
visual the needs of clients and be relevant to specific audiences; explain how specific
communications. design elements and principles have been used to achieve those purposes
analyse different examples of visual communication; discuss how the design

process determined material/s used, method/s applied and media used;
describe how these decisions affected each type of final presentation
research and prepare an oral report on how an example of a visual

communication was designed by designer/s in an organisation; include visual
material to illustrate how the designer/s went about their work
watch a video of a designer working through a brief and use a series of

annotated drawings to document stages or aspects of the process followed by
the designer; explain how the visual communication was produced to satisfy the
communication need
Detailed example
DESCRIBING THE DESIGN PROCESS
Students are given a copy of the table Students prepare an oral report comparing and
‘Components of a design process’ on page 35 of contrasting the design process followed in an
the study design. This table outlines a design individual circumstance with that outlined in the
process. The process and ideas are discussed table ‘Components of a design process’.
and defined.
Students prepare written notes to accompany an
Using the written structure of the design oral presentation as well as a diagram showing
process, students create an explanatory diagram how the design process was followed in the
of this process. individual case. The table should identify research
undertaken, ways of generating ideas, audience
Students listen to a speaker or view a video
and client factors, use of materials, methods,
describing how the design process is applied to
media and presentations completed, and
resolve a communication need in a particular
evaluative strategies undertaken.
circumstance and/or by a specific individual.
46 VCE STUDY DESIGN

AREA OF STUDY 1: Representing and communicating form
Use freehand and provide students with an orthogonal drawing of a lounge chair and have them add a
instrumental sectional view from an indicated direction to reveal its inner structure (advice on the
drawings to framing and filling materials will need to be included with the orthogonal drawing)
develop images
that represent and manually draw three letters as isometric forms; the arrangement should include both
communicate straight and curved letterform; the three objects should be placed to create a visually
form. appealing composition
complete a fully dimensioned third-angle orthogonal drawing of a juice carton with a

screw top, following ASA conventions; draw the object using paraline drawing; add a
surface design and letterform to identify the product to extend instrumental drawing
skills
measure a plastic lemon juicer; produce a series of paraline instrumental drawings

from direct observation
design a beach house that incorporates environmental efficiency; produce a plan

view and elevations
Detailed example
PARALINE DRAWING
Revise theory on paraline drawing methods of They trace over the constructed drawing and add
isometric and third-angle orthogonal drawing. two constructed shapes to form a compositional
relationship with a glass and half a lemon.
Students construct an orthogonal drawing of a
plastic lemon juicer on a drawing scale 1:1; they Students produce an orthogonal view of either the
then dimension, label (letterform) and ink the three-dimensional glass or sectioned lemon.
drawing following ASA conventions.
Extension work
Next they produce a full cross section through
the line that divides the spout and grip. Students establish shadows and light source, then
colour render in pencil to show the textures and
Students construct to half scale the ‘plastic tonal qualities of the fleshy/pithy lemon, the high
lemon juicer’, taking into account the series of contrast reflections of transparent glass and the
curved/hexagonal shapes using the isometric soft tonal qualities of the frosted blue plastic
drawing system. lemon juicer. They then produce one of the
drawings as a digitised image.
VCE STUDY DESIGN 47

AREA OF STUDY 2: Developing imagery
Use freehand use freehand drawing to generate a name or word using one-point perspective; make
drawings in the multiple copies of this and then render to create different surface textures such as
development of chrome, wood, denim, wool
rendered three-
dimensional explore a natural object through drawing from observation and explore through the
images. application of design elements
from observation draw a child’s toy such as a car, a karaoke player or soft toys; use
this drawing to create a three-dimensional book character; include different views
such as a bird or worm’s eye view to form a composition demonstrating knowledge of
hierarchy and relationship; use these as a basis for a rendered concept illustration or
caricature, with consideration of light, shade and shadow
generate quick tonal freehand drawings using a 6b pencil to capture a busy setting
such as the local train station, canteen queue, lockers at bell time, sets or rehearsal
for the school play
use a mouse to electronically freehand draw an object (pencil, sharpener) using the
freehand line tool, to capture form, light, shade and shadow; change the balance of
design elements to generate a number of interesting visual interpretations
Detailed example
EXPLORING A NATURAL OBJECT
Sketch a natural object such as a shell, flower, Using five 100 x 100 mm squares, develop
rock, seedpod or leaf. patterns based on the evolving imagery; consider
modifying colour, shape and form.
Sketch from a variety of viewpoints and explore
a range of media and rendering styles (dot, Evaluate and select the best solution and adapt
hatching, tonal) to visually enhance the object. this to become a repeated tile pattern for a
bathroom or for the surface decoration of a tissue
Using five 100 x 100 mm squares, explore the
box or packaging.
visual qualities of the object drawn by simplifying
the design elements to create two-dimensional
images.
48 VCE STUDY DESIGN

AREA OF STUDY 3: Developing visual communication solutions
Apply a design revise the stages in a design process; generate possible solution/s to demonstrate
process to ability to apply materials, methods, media, design elements and design principles to
develop a visual explore possible solutions; for example, produce a brochure for sporting teams in a
communication competition which presents concept illustrations of uniforms to be worn; these
solution to a set images are scanned into the computer and placed into a brochure demonstrating
task. layout knowledge
use a design process to develop a map for Year 6 students that suggests similarities
and differences between primary and secondary school; encourage rapid freehand
drawing to generate initial ideas; use materials and different media to add a youthful
energy to the imagery; use design elements and principles to increase the diversity
of design options; use information and communications technology to further explore
imagery; encourage the use of ongoing evaluation using annotations to focus on
decisions made throughout the design process
use a letterform to explore possible solutions to represent a specific music genre

for an identified audience and context
apply a design process to develop possible solution/s for a movie poster; develop
imagery and letterform appropriate to the poster which is to be used to attract
members of the public interested in a special midnight movie festival; select a theme
such as ‘thriller’, ‘romance’, ‘comedy’ as a focus for exploration
an Xtreme sports promoter requires logos for competition categories such as skate,
inline, bmx, MotoX; the possible solution/s need to target an Xtreme sports
audience; use information and communications technology to develop and refine
possible solution/s for one or more logo/s; refinement could include simplifying the
lines, shapes, tones or colours to maximise visual appeal
Detailed example
THE DESIGN PROCESS AND CREATIVE LETTERFORM
Students select a name or word to represent a expressive. For example ‘white-out’ may be used
music genre; for example, hip-hop, grunge, to delete some of the letterform detail from the
gothic, alternative, techno, hard rock, classic, word ‘grunge’ or a word may be cut into lino to
easy listening. Research characteristics of the create a raw or rough textured letterform.
music genre and collect images related to the
Students then experiment with information
genre.
and communications technology to
Students then select a sans serif font to transform their modified word into a letterform
familiarise themselves with the shapes of that reflects the chosen mood.
characters in that word. Using design elements
Research to establish initial concepts.
and freehand drawing, they experiment with a
Development and refinement of the ‘word’ to
range of media, methods and materials to
reflect the chosen mood should be evident
transform it manually to something more
throughout the design process.
VCE STUDY DESIGN 49

AREA OF STUDY 4: Visual communication in context
Describe and discuss the visual presentation of information and ideas presented in contemporary
analyse posters for such market niche groups as ‘sports fans’, ‘holiday goers’, ‘architects’,
contemporary ‘retirees’; different approaches used by the designers to achieve their intended
and historical purposes are identified during the discussion, for example, provision of detailed
examples of information, use of vivid imagery, appeal to emotions
visual
communications provide examples of visual communications produced in different eras; in groups,
and explain how discuss the influence of cultural and historical factors on these examples, and how
they contemporary visual communications would present the ideas and information
communicate evident in the visual communications from these eras; provide verbal feedback
ideas, present
information and select two examples of contemporary visual communication and produce a written/
reflect oral report which discusses the influence of current attitudes and values evident in
influences. them
research historical style/s and movement/s, for example, Bauhaus; discuss how
historical style/s and/or movement/s have influenced the production of a
contemporary visual communication/s; use examples from the visual
communications in the discussion
describe how materials, methods, media, design elements, design principles and
final presentations communicate information and ideas in one contemporary and
one historical example of a visual communication
50 VCE STUDY DESIGN

AREA OF STUDY 1: Visual communication design
Apply the design provide a sample communication need/s statement that gives basic information to
process to produce define the focus of the final presentation/s; discuss the information provided and
a final visual relate this back to the design process; devise own communication need/s statement
communication
presentation that provide a diverse list of communication needs; for example, external signage for a
satisfies a specified resort, a CD cover for a band, a takeaway package to contain a fish and chip meal;
communication an object used in the home such as a razor, high chair, can opener, electric
need. toothbrush, computer monitor, mobile phone; objects for leisure such as a car,
boat, deck chair for camping; environmental changes such as a landscape
redesign with barbeque; select a communication need to pursue; outline in writing
the communication need in order to provide a direction for the design process
negotiate a communication need with a ‘real’ client
Detailed example
EXTERNAL SIGNAGE FOR A RESORT
Students define the communication need: Laire Students produce a range of design
Resort requires external signage. alternatives manually and by applying
information and communications technology. For
The resort is located in a popular holiday example, students use freehand illustration to
destination. The imagery should reflect the capture the spirit of the area and then explore
natural environment of the location. Information letterform to create a unique interpretation of the
required on the sign/s is the name of the resort word ‘Laire’. Students continue to explore possible
‘Laire’ and an accompanying visual. The client resolutions by developing computer-generated
wishes to give her establishment an ‘arty’ imagery to generate a series of images or take
atmosphere. Work from artists such as Deborah photographs of the area and digitally enhance
Kline or Margaret Preston could be used for them to extend their range of design alternatives.
inspiration. Students investigate applications of materials,
methods, media, design elements and design
Students research and analyse information to
principles relative to the proposed final
commence generating annotated concepts. This
presentation/s format/s throughout the
could include researching the art style, collecting development and refining stages.
additional visual information about the flora and
fauna of the region and drawing local flora and Students refine preferred options and
fauna from direct observation. establish through evaluation any required
changes. They test, as appropriate, technical
Students use freehand drawing to explore a reproduction details such as application of media,
range of ideas in the development of imagery page set up, DPI, cmyk conversions prior to
and related letterform. Students use perspective printing.
and paraline two-dimensional and three- Finally, students produce a final presentation of the
dimensional drawing to convey information proposed visual and a concept presentation or a
related to the structure of the proposed sign/s. three-dimensional model of the proposed signage.
Annotations are used to monitor the design
process.
VCE STUDY DESIGN 51

AREA OF STUDY 2: Visual communication analysis
Analyse and research two examples of visual communications that have a similar theme but a
evaluate the difference audience; for example, fashion advertisements, furniture brochures, CD
effectiveness of a covers or posters; identify how different audiences can be targeted through the use
range of visual of different materials, methods, media, design elements and principles, and evaluate
communications. the effectiveness of these visual communications
undertake a thematic approach to the three areas of study in the unit
discuss how design elements and design principles are applied in collaboration in
examples of visual communications
discuss how two design elements that are significant in a visual communication, for
example, shape and form, are used in the arrangement of the design principles to
convey information and/or ideas; discuss how each of these contributes to the
effectiveness of the communication of information and ideas
discuss how, for example, cropping and pattern, are used to convey information and
ideas in appropriate visual communications
discuss how standards and/or conventions (for example, third-angle conventions,

mapping conventions, headings and labelling) are used in examples of visual
communications to present information and ideas
discuss how examples of visual communication that are intended for the same
audience and purpose use different ways to attract and maintain interest
analyse a range of visual communications that demonstrate a diversity of methods

(see page 41 of the study design for examples of ‘methods’); present a report that
analyses and evaluates examples of visual communications (these could include two
letterheads, two illustrations and two advertisements); this analysis could be
undertaken as a series of activities
Detailed example
THEMATIC UNIT APPROACH
In this thematic approach to Unit 3, Outcome 2 audience, materials, methods and media used in
is completed initially. Then Outcome 3 is their production, and the application of design
undertaken in order to model how a elements and principles used in each example.
professional designer/s approaches an Include the visual material in the report.
architectural drawing brief. Finally Outcome 1 (Outcome 2)
in which the communication need/s is defined
Investigate, through an interview or listening to a
in terms of an architectural project is
guest speaker, the design process undertaken by
completed.
an architect in the development of architectural
Students complete the following tasks: drawings to meet the needs of a client.
(Outcome 3)
Analyse and evaluate the effectiveness of real
estate billboards or advertising targeted at the Develop a set of plans, elevations and a model for
home buyer, and a brochure directed at corporate a specified architectural project. (Outcome 1)
clients. Present a report that analyses the
52 VCE STUDY DESIGN

AREA OF STUDY 3: Professional practice in visual communication
Discuss the roles interview a professional designer in the local and/or school community, focusing on
and relationships the roles and relationships involved in the design and production of visual
involved in the communication for a client
design and
production of screen a video/s that shows the roles and relationships involved in the design and
visual production of visual communication/s in professional practice
communications
in the context of identify and describe the skills applied by professional designers and specialist/s at
professional stages throughout the design and production stages
practice.
interview a professional designer that works alone; discuss his/her application of the
design process, considering decisions made and implemented throughout the
design and production stages of a design brief to meet the client need/s; look at the
relationship and interaction between the client and the designer; describe ways in
which the designer responded to the brief at stages throughout the process
use information and communications technology such as the Internet and CD-ROMs
to research information regarding processes employed by professional designers
discuss similarities and differences between examples of design briefs focusing on

how each establishes and defines a communication need/s
discuss how information and communications technology is used in the design and
production of three different examples of visual communications
prepare a table that summarises decisions made about the choice of materials,
methods, media, design elements and design principles in the production of two
examples of visual communications
identify different stages in the production of visual communications; describe the

significance of the client at each of these stages
Detailed example
PROFESSIONAL PRACTICE REPORT
Show a video/s about professional designers Attend a presentation given by a professional

working in professional practice that focuses on designer.
roles and relationships involved in the design
Students prepare a report that discusses the
and production of visual communication/s.
designer/s at work on a brief as explored in the
Students take notes. Teachers may provide
video or the presentation.
worksheets to highlight those aspects that deal
with the processes and procedures used in
professional practice.
VCE STUDY DESIGN 53

AREA OF STUDY 1: The brief
Prepare one brief list topics or generate, through discussion, a list of topics of interest, for example a
that describes a set of stamps and related promotional material; a poster and logo for a Melbourne
client’s Festival; a promotional flyer and CD cover for a newly formed music band; an
communication architectural model and a concept brochure for a construction company; a movie
need and specifies poster and tickets for a cinema; a website design for the zoo including interactive
possible location guide and related promotional material; an animation to use in an
resolutions, and advertisement for an animal rescue centre and stationery/logo
proposes two formulate a fictitious brief that will show strengths in at least two preferred methods
distinct final visual such as photography and computers, or printmaking and freehand drawing
communication
presentations write a letter from a fictitious client outlining clearly the client’s needs,
suitable for a the purpose of the visual communication and the limitations placed upon its
stated audience/s. development
prepare a brief negotiated with a real client; conduct an interview with the client and
collect additional information through research prior to completing the brief
Detailed example
A DESIGN BRIEF
(name and address supplied) non-gender specific but rather reflect the
dynamics of our team. Although reflective of a
Dear ...,
youth market, the imagery should have a broad
The Hobart Consolidated have just registered as market appeal.
a sporting team. The new team, as yet
The constraints include a time line of four weeks
unnamed, requires:
to develop design alternatives and an initial
• a logo/corporate stationery budget of $10,000 to produce concepts to the
• a launch promotional poster. client for consideration. The client would like the
design to be limited to three colours; however,
My board has expectations that the imagery will
the poster will be left completely to you.
reflect the dynamics and passion of the new club
to the broader sporting community. The short- The name and logo should be drawn from
term objective is to develop an identity through a imagery that reflects Tasmania’s natural assets.
logo that will quickly raise awareness of this new The final presentations must be complementary
team among the general public, to generate to, but distinctively different from, existing
interest and entice players signing up, and to sporting logos and corporate applications.
attract sponsorship to provide much needed Presentation formats should also be identified.
financial support. A promotional poster, which
Note: Additional information could be
would also include the logo, is also required to
provided to ensure there is enough detail for
be placed in prominent locations such as
both final presentations without being too
schools, train stations, shopping centres and
prescriptive.
sporting venues. The designs required should be
54 VCE STUDY DESIGN

AREA OF STUDY 2: Developmental work
Outcome 2 Example of a learning activity
Prepare direction is determined in Outcome 1; the following detailed example is based on

developmental work the sample brief provided for Outcome 1
that explores design
concepts relevant to
the requirements of
the brief developed
for Outcome 1 and
fulfils the
requirements of that
brief.
Detailed example
DEVELOPMENTAL WORK
Brief • Select one or two solution/s for further

development, noting the reason/s for the
Develop a logo, corporate stationery and a
selection. Perhaps seek client feedback at
launch promotional poster for Hobart
this point.
Consolidated. (See detailed example on p. 54.)
• Explore media and materials relative to a range
Research of methods, including the use of information
The flora and fauna of Tasmania, use of and communications technology.
the Internet to obtain additional information such • Refine the composition using design elements
as a map of Tasmania, major tourist attractions, and principles to ensure effective
historical or cultural features of the state. Collect communication of ideas and/or message.
examples of opposition team logos and any Check the brief to ensure the client and
promotional material, look further afield to audience needs are met.
identify excellent sporting logos in other sports
• Ensure conventions, if appropriate, are
areas. Use annotations and initial freehand
observed.
drawing to develop initial ideas.
Explore a range of ideas for the poster. Then trial
Generate, develop and refine ideas
materials, media and presentation formats.
Explore a range of ideas to develop a name and (Presentation 2) Some decisions made will be
logo. (Presentation 1) This could include the influenced by the direction chosen in
Tasmanian tigers, sharks, crays, whales, apples. Presentation 1.
Further explore initial concepts; consider
Using the initial research and developed ideas,
materials, methods, media, design elements and
produce a range of freehand-drawn options.
principles within the context of the presentation
formats defined in the brief. Select preferred options for further
refinement through the use of design
Evaluate the options through critical appraisal
elements and principles, exploration of materials,
and annotations.
methods and media which could be manual and/or
Select and refine preferred options for further information and communications technology
exploration: based.
• Consider the use of both two- and three- Evaluate and refine for final production of
dimensional approaches. presentation.
• Use design elements and principles to Use coloured mock-ups of both presentations to
determine the compositional components of ensure technical and creative content clearly
the logo and letterform. communicates the required communication
need/s.
VCE STUDY DESIGN 55

AREA OF STUDY 3: Final presentations
Outcome 3 Example of a learning activity
Produce two distinct produce two distinct final visual communication presentations on two
final visual presentation formats
communication
presentations that
satisfy the
requirements of the
brief developed for
Outcome 1.
Detailed example
EXAMPLES OF FINAL PRESENTATIONS
Example 1 Example 4
Final Presentation 1: corporate stationery set Final Presentation 1: logo
Presentation format: cardboard. All three parts Presentation format: cap
of this final presentation are presented to true
Final Presentation 2: brochure
scale and mounted on cardboard to demonstrate
Presentation format: any flat two-dimensional
visual unity.
surface
Part a: corporate letterhead on an A4 page
Part a: outer brochure layout demonstrating
Part b: corporate logo on an envelope
placement of visual information
Part c: corporate logo adapted to a business
Part b: inner brochure layout displaying placement
card
of visual solution
Final Presentation 2: carry bag
Presentation format: three-dimensional model Example 5
(prototype) Final Presentation 1: concept design of an
Part a: constructed model showing physical interactive multimedia game platform
characteristics of the carry bag Presentation format: three-dimensional scaled
Part b: surface design on the carry bag representation of the platform
Example 2 Final Presentation 2: garment design (for a

character in an interactive multimedia game)
Final Presentation 1: logo
Part a: orthogonal information presented as a one-
Presentation format: any two-dimensional
fifth scaled pattern
surface
Presentation format: two-dimensional surface
Final Presentation 2: brochure Part b: illustration of proposed garment
Presentation format: folded paper surface with Presentation format: A3 illustration board
visual information applied Part c: constructed garment
Presentation format: three-dimensional prototype
Example 3
Final Presentation 1: logo
Presentation format: T-shirt
Final Presentation 2: poster
Presentation format: any flat two-dimensional
surface (may be window mounted)
continued
56 VCE STUDY DESIGN

Detailed example (continued)
Example 6 Example 7
Final Presentation 1: concept design of an Final Presentation 1: working drawings of a
appliance building; room layout using composite orthogonal
Presentation format: three-dimensional scaled information showing dimensioned floor plan and
model (to represent the appliance) elevations
Presentation format: two-dimensional surface, for
Final Presentation 2: multimedia
example, paper
presentation concept
Part a: the data file on appropriate monitor/ Final Presentation 2: visual display of building
display unit characteristics
Presentation format: computer file Part a: building interior
Part b: storyboard Presentation format: three-dimensional model
Presentation format: paper Part b: constructed illustration(s) using isometric,
planometric, and/or perspective drawing methods
Presentation format: paper
VCE STUDY DESIGN 57

SCHOOL-ASSESSED COURSEWORK
In Unit 3 teachers must select appropriate tasks from the assessment table provided for the unit. Advice on the
assessment tasks and performance descriptors to assist teachers in designing and marking assessment tasks will
be published by the Victorian Curriculum and Assessment Authority in an assessment handbook. The following is
an example of a teacher’s assessment program using a selection of the tasks from the Unit 3 assessment table.
Outcomes Marks allocated Assessment tasks
Unit 3
Outcome 1 A folio of work that is based on the development of a
Apply the design process to produce a final package design and related surface imagery. The
visual communication presentation that folio should demonstrate the clear application of the
satisfies a specific communication need. design process, including:
• Research and analysis of information relevant to
the communication need.
• Manual drawing including freehand drawing and
drawing from direct observation.
• Application of a range of materials, media, design
60 elements, design principles, drawing methods
including two-dimensional and three-dimensional
drawings and information and communications
technology.
• Application of Australian Standards conventions,
where appropriate.
• Selection, development and refinement of design
alternatives that suit the initial communication
need.
• Production of a final presentation to satisfy the
initial communication need.
Outcome 2 An essay requiring the analysis and evaluation of

Analyse and evaluate the effectiveness of a 20 three examples of visual communication; an
range of visual communications. advertising poster, website and logo.
Outcome 3 A series of structured questions taken under test

Discuss the roles and relationships involved in conditions that enable students to clearly
20 demonstrate an understanding of the roles and
the design and production of visual
communications in the context of professional relationships that exist in professional practice in the
practice. design and production of visual communications.
Total marks for Unit 3 100
58 VCE STUDY DESIGN

SCHOOL-ASSESSED TASK
In Unit 4 teachers must provide students with the opportunities to complete the school-assessed task.
The following is an example of a teacher’s assessment program based on the tasks from the Unit 4
assessment table.
Outcomes Marks allocated Assessment tasks
Unit 4
Outcome 1
Prepare one brief that describes a client’s Write a brief detailing the need for a logo and a
Subject to
communication need and specifies possible external promotional website for a film production company.
resolutions, and proposes two distinct final review Identify audience/s, purpose/s, context/s and
visual communication presentations suitable presentation formats.
for a stated audience/s.
Outcome 2 Prepare a folio of visual communication

Prepare developmental work that explores developmental work for two final presentations.
design concepts relevant to the requirements Final Presentation 1: logo and Final Presentation 2:
of the brief developed for Outcome 1 and a promotional website. The folio should include:
fulfils the requirements of that brief. • Research for inspiration and ideas that show
Subject to analysis and interpretation of material relevant
external to the brief.
review
• Generation and exploration of a range of design
concepts related to the brief through application
of methods, media, material, design elements,
design principles and possible presentation
formats.
• The production and evaluation of mock-ups.
Outcome 3
Produce two distinct final visual Subject to Produce the two distinct final presentations on two
communication presentations that satisfy the external presentation formats that fulfil the need/s of the client
review
requirements of the brief developed for as detailed in the initial brief.
Outcome 1.
VCE STUDY DESIGN 59

SUITABLE RESOURCES
Courses must be developed within the framework of the study design: the areas of study, outcome
statements, and key knowledge and skills.
Some of the print resources listed in this section may be out of print. They have been included
because they may still be available from libraries, bookshops and private collections.
GENERAL UNIT 1
Books Books
Aldrich-Ruenzel, N & Fennell, J (eds) 1991, Designer’s Guide to Ainsworth, R & Ainsworth, J 1993, The Sketching Book,
Typography, Phaidon, New York. Scholastic, USA.
Carter, DE 1989, E.V.Olution of Design, Art Direction Book Co, Ching, F 1990, Drawing: A Creative Process, Van Nostrand
New York. Reinholdt, USA.
Craig, J 1990, Basic Typography: A Design Manual, Watson- Ching, F 2002, Architectural Graphics, Wiley, USA.
Guptill, New York.
Doyle, ME 1999, Color Drawing, Van Nostrand Reinholdt, USA.
Cropper, M & Haller, L 1994, Fresh Ideas in Corporate Identity,
Edwards, B 1985, Drawing on the Right Side of the Brain,
North Light Books, Ohio.
Fontana, UK.
DL Design Library, 1996, Poster Art, Rockport, USA.
Fair, D & Kenny, M 1987, Design Graphics, Hodder, UK.
Feierabend, P (ed.) 1999, Graphic Design, Page One Publishing
Giesecke, FE 1988, Technical Drawing Problems, Macmillan
Pty Ltd, Singapore.
Publishing, USA.
Itten, J, 1975, Design and Form: The Basic Course at the Bauhaus,
Gill, RW 1984, Rendering With Pen and Ink, Thames & Hudson,
John Wiley & Sons, New Jersey.
Australia.
Lawson, B 1998, How Designers Think: The Design Process
Holland, DK 1997, Design in Depth, Rockport, USA.
Demystified, 2nd edn, Butterworth Architecture, USA.
Industrial Design Workshop 2, 1994, The creative process behind
Livingston, A & Livingston, I 1992, The Thames & Hudson
product design, Meisei Publications, Japan.
Dictionary of Graphic Design and Designers, Thames & Hudson,
USA. Kemnitzer, RB 1998, Rendering with Markers, Watson-Guptill,
New York.
Lupton, E 1996, Mixing Messages: Contemporary Graphic Design
in Contemporary Culture, Cooper Hewitt National Design Parramon, JM 1988, How to Paint With Colored Pencil, Watson-
Museum, Smithsonian Institute and Thames & Hudson, USA. Guptill, New York.
Macleod, K & Three Deep Design 2002, Bird, Three Deep Design, Parramon, JM 1991, Light and Shade, Watson-Guptill, New York.
Australia (fashion design).
Peterson, BL 1996, Using Design Basics to Get Creative Results,
McQuiston, L & Kitts, B 1991, Graphic Design Source Book, North Light, USA.
Chartwell Books Inc., UK (a visual reference to 20th-century
Shimizu, Y 1990, Creative Marker Techniques, Graphic-sha Pub
graphic design).
Co, Tokyo.
PBC International Staff 1989, Great Packaging-Graphics, PBC
Standards of Australia, 1994, General Principles of Technical
International Inc, Glen Cove, New York.
Drawing AS1100 Australian Standards Association, Homebush,
Poynor, R (ed.) 2000, Typography: Now the Next Wave, Booth- NSW.
Clibborn, UK.
Taylor, T et al. 1996, How to Draw Cars Like a Pro, Motor Books,
Shimizu, Y 1990, Marker Works from Japan, Graphic-sha Pub USA.
Co, Tokyo.
Ungar, J 1985, Rendering in Mixed Media, Watson-Guptill, USA.
Supon Design Group 1997, Breaking The Rules – In graphic
Wilde, J & Wilde, R 1991, Visual Literacy, Watson-Guptill, USA.
Design, Rockport Publishers, USA.
Wong, W 1993, Principles of Form and Design, Van Nostrand
Swan, A 1997, The New Graphic Design School, John Wiley &
Reinholdt, USA.
Sons, USA.
Thorgerson, S & Powell, A 1999, 100 Best Album Covers, Dorling
Kindersley Limited, UK.
60 VCE STUDY DESIGN

UNIT 2 UNITS 2 AND 3

Books Books
Ainsworth, R & Ainsworth, J 1993, The Sketching Book, Bogle, M 1998, Design in Australia, Craftsman, Australia.
Scholastic, USA.
Cato, K 1995, Cato Design, Thames & Hudson, London.
Alexander, R & Batstone, K 1994, A Handbook for Garden
Cutting Edge (series of 7), Thames & Hudson, UK:
Designers, Ward lock, UK.
Farrelly, L 1998, Tibor Kalman.
Ashford, J & Odahn, MJ 2000, Start with a Scan, Peachpit, USA.
Kingswell, T 1998, Red or Dead.
Blackwell, L 1999, Twentieth Century Type: Remix, Laurence Polhemus, T 1998, Diesel.
King, UK. Sweet, F 1998, Alessi: Art and Poetry.
Bossert, J 1998, Children’s Book Illustration: Step By Step Sweet, F 1999, Frog: Form follows emotion.
Techniques, Roto Vision, Switzerland.
Design Icons (series of 8), Viking, Australia:
Carter, DE (ed.) 1997, Fun With Fonts, Hearst Books International, Attwood, D 1997, Radio.
USA.
Clark, P 1997, The Phone.
Ching, F 2002, Architectural Graphics, John Wiley, USA. Clarke, P 1998, The Watch.
Drake, N 1994, Fashion Illustration Today, Thames & Hudson, Colombo, S 1997, The Chair.
UK. Julier, G 1999, The Teapot.
Giesecke, FE 1988, Technical Drawing Problems, Macmillan McIntyre, K 1998, The Desk Lamp.
Publishing, USA. Woodham, JM 1997, The Kettle.
Heller, S 1995, The Business of Illustration, Watson-Guptill, USA. Woodham, JM 1998, The Pen.
Howard, RJ 1992, The Illustrator’s Bible, Watson-Guptill, USA. Golding, S 1997, Photomontage, Rockport, USA.
Industrial Design Workshop 2 1994, The creative process behind Heller, S 1988, Graphic Style, Thames & Hudson, UK.
product design, Meisei Publications, Japan. Heller, S & Chwast, S 1989, Graphic Styles, Abrams, USA.
Kemnitzer, RB 1998, Rendering with Markers, Watson-Guptill, Ireland, JP et al. 1992, Introduction to Fashion Design, Batsford,
USA. UK.
Miller, AR & Brown, JM 2000, What Logos Do and How They Do McDermott, C 1997, 20th-Century Design, Viking, UK.
It, Rockport, USA.
Meggs, PB 1998, History of Graphic Design, Wiley, USA.
Pathak, H 1998, Structural Package Design, Pepin, Amsterdam.
Peterson, BL 1996, Using Design Basics to Get Creative Results,
Sawahata, L 1998, Building Great Designs on a Limited Budget North Light Books, USA.
– Graphic Ideas Resources, Rockport, USA.
Phaidon Press 1998, The Fashion Book, Phaidon, Australia.
Seaman, J 1996, Fashion Illustration: Basic Techniques, Batsford,
UK. Radice, B 1985, Memphis, Thames & Hudson, UK.
Shimizu, Y 1990, Marker Works from Japan, Graphic-sha Pub Rowland, A 1997, Bauhaus Source Book, Quantum, UK.
Co, Tokyo. Tambini, M 1996, The Look of the Century, Dorling Kindersley,
Takamura, Z 1991, The Use of Markers in Fashion Illustrations, UK.
Graphic-sha Pub Co, Tokyo. Yusuf, N 1998, Georgina Von Etzdorf: Sensuality, Art and Fabric.
Walker, T 1999, Plan Graphics, Wiley, USA.
Ward, D 1988, Creative Ad Design and Illustration, North Light, UNIT 3
USA.
Books
Wozencroft, J 1988, Graphic Language of Neville Brody, Thames
Beddard, P et al. 1996, Nocturnal:Global Highflyers, Booth-
& Hudson, UK.
Clibborn, UK.
Wozencroft, J 1994, Graphic Language of Neville Brody 2,
Blackwell, L 1995, The End of Print: The Graphic Design of David
Thames & Hudson, UK.
Carson, Laurence King, UK.
Ziegler, K & Greco, N 1996, Digitalink: Digital Design and
Cato, K 1998, Hindsight: Lessons for Young Designers,
Advertising, Dimensional Illustrators, USA.
Craftsman, Australia.
Fiell, C & Fiell P 2000, Industrial Design A-Z, Taschen, USA.
Gabra-Liddell, 1998, Alessi: The Design Factory, Academy, UK.
Giesecke, FE 1988, Technical Drawing Problems, Macmillan
Publishing, USA.
VCE STUDY DESIGN 61

Grey, J 1997, Kitchen – Home Design Workbooks, Dorling UNITS 2, 3 AND 4

Kindersley, UK.
Books
Heller, S 1995, That’s Entertainment, PBC, USA.
Industrial Design Workshop 2 1994, The creative process behind Carter, DE 2000, Cool Cards 2, Watson-Guptill, USA.
product design, Meisei Publications, Japan. Carter, DE 2000, The Big Book of Logos, Watson-Guptill, USA.
Martin, D 1996, Street Smart, North Light Books, USA. Couture, LA 2001, New London; the Edge of Graphic Design,
Martin, D 1997, Graphic Design: Inspirations and Innovations 2, Rockport, USA.
North Light Books, USA. Frankel, S 2001, Visionaries, Interviews with Fashion Designers,
Supon Design Group, 1995, Breaking Rules in Graphic Design, V & A Publications, London (resource for fashion).
Rockport, USA. Heller, S & Fink, A 1999, Less is More; the New Simplicity in
Graphic Design, North Light Books, USA.
UNITS 3 AND 4 Mason, D (ed.) 2001, Experimental Packaging, RotoVision, East
Sussex.
Books
Miyake, I et al. 1999, Issey Miyake Making Things, First Scalo
Dover, L (ed.) 1995, Print’s Best: Logo’s and Symbols 4, RC
Edition, Germany (resource for fashion).
Publications Inc, New York.
Rashid, K 2001, I Want to Change the World, Thames & Hudson,
Fashion Memoir (series), 1997, Thames & Hudson, USA.
UK (industrial design).
Sidles, CJ 2000, Building Innovative Design through Creative
Rashid, H 2002, Asympiote: Flux, Phaidon Press, London
Pre-press Techniques, Rockport Publishers, USA.
(industrial design).
Stafford C (ed.), 1999, 50 Trade Secrets of Great Design
Rowland, A 1997, Bauhaus Source Book, Quantum Books, UK.
Packaging, Rockport Publishers, USA.
Williams, N 1993, Paper Work – the potential of paper in graphic
Swan, A 1989, Layout Source Book, Wellfleet Press, USA.
design, Phaidon, London.
Wozencroft, J 1994, The Graphic Language of Neville Brody (1
and 2), Thames & Hudson, USA. AUDIOVISUAL
UNIT 4 Videos
Advanced Technical Drawing 1998, Classroom Video, Australia.
Books
Art of Design Series, 2 programs 1998, UK, distributed by Video
Blackwell, L 1996, Contemporary Graphic Design, Laurence King,
Education Australia.
UK.
Creating an Australian Icon: The Rip Curl Logo 1996, Learning
Byars, M 1999, 100 Designs/100 Years, RotoVision, East Sussex.
Essentials, Malvern, Australia.
Byars, M 1999, 50 Sports Wares, RotoVision, East Sussex.
Creating a Corporate Image 1994, Video Education Australia,
Cropper, M 1994, Fresh Ideas in Corporate Identity, North Light Australia.
Books, USA.
Designing a Magazine 1994, Video Education Australia, Australia.
Cullen, CD 1998, The Best Direct Response Design, Rockport,
Designing a product 1994, UK, distributed by Video Education
USA.
Australia.
Haller, L 1994, Fresh Ideas in Promotions, North Light Books,
Designing and Marketing of a New Product 1994, Marcom
USA.
Projects, Australia.
Holland, DK 1997, Marketing by Design, Rockport, USA.
Designing Dream Machines 1996, UK, distributed by Video
Landa, R 1996, Graphic Design Solutions, Decmar, USA. Education Australia.
Mambo 1994, Art Irritates Life, Mambo Graphics, Sydney. Graphic Designer (On the Job series) 1997, Video Education
Australia, Australia.
Walton, R & Duncan, B 1998, Sight for Sound, Hearst Books
International, USA. Making Money 1995, Learning Essentials, Malvern, Australia.
Zappaterra, Y 1998 Illustration: Real World Projects, RotoVision, Mambo – Wearing the Image 1995, Video Education Australia,
East Sussex. Australia.
Right from the Start 1996, Video Education Australia, Australia.
Technical Graphics 1997, Classroom Video Australia.
The Zoo Brief 1996, Learning Essentials, Malvern, Australia.
62 VCE STUDY DESIGN

GENERAL Design magazine

www.metropolismag.com/html/archives/index.html
Journals and periodicals
Famous designers archive
Architecture Australia www.io.tudelft.nl/public/vdm/fda/fda02.html
Emigré, 4475 ‘D’ Street, Sacramento, CA 95819, USA Flag design
www.ausflag.com.au/home.html
Eye Magazine: The International Review of Graphic Design,
quarterly, by subscription from Readerlink, Audit House, 60 Field Furniture design Frank history
End Road, Westcote, Middx HA4 9LT, UK, Fax 144 (0) 181 956 www.iserv.net/~plucas/
3020
Guggenheim Museum, Bilbao, Spain (designed by Frank
Linea Grafica, Progretto Editrice srl, C.so Garibaldi 64 20121, O’Gehry)
Milano (available through Technical Bookshop, Melbourne) www.bm30.es/homegug_uk.html
Monument, Australia (architecture), from newsagents Guggenheim Museums
www.guggenheim.org
Step by Step Graphics, by subscription from Dynamic Graphics
P/L, 17 Anzac Avenue, Collaroy, New South Wales 2097 Mambo
www.mambo.com.au
Your House, a Teacher Resource Kit, Royal Australian Institute
of Architects Omega watch
www.omega.ch/omega/co_home
GENERAL Swatch Watch
www.swatch.com
Websites
Toaster art, design, history
At the time of publication the URLs (website addresses) cited www.toaster.org/museumintro.html
were checked for accuracy and appropriateness of content.
However, due to the transient nature of material placed on the Visual Arts Dictionary
web, their continuing accuracy cannot be verified. Teachers are www.artlex.com/ArtLex
strongly advised to prepare their own indexes of sites that are William Morris
suitable and applicable to the courses they teach, and to check www.lbwf.gov.uk/wmg/home.htm
these addresses prior to allowing student access.
It is not possible to organise this list in any more than general General Visual Communication (Art) websites
terms. Sites with links to other sites are listed first, single-interest
Art Attack – art and visual images
sites are listed later. Generally the title given is the title of the
www.artattack.co.uk/
page; where this is not possible a description of the content is
given. Art History Resources on the Web
http://witcombe.sbc.edu/ARTHLinks.html
The WWW Virtual Library catalogue. Click on category or search.
www.vlib.org Artchive – general art, visual imagery website
www.artchive.com/
Using the search engines Yahoo and Google, search using the
term ‘arts design’. You can choose companies, desktop Artist terminology
publishing, fonts, graphic arts, institutes or magazines. www.axisartists.org.uk/links/artterminology.htm
Alessi design (work of famous designers, including Philippe Arts Edge – resources, images and lesson plans about design
Starck) arts
www.alessi.com http://artsedge.kennedy-center.org/
Andy Warhol Ask Art – database of American art works and artists
www.artcyclopedia.com/artists/warhol_andy.html http://askart.com/
Art and design links Eyes on Art – general art, visual imagery website
www.calarts.edu/~graphic/links.html www.kn.pacbell.com/wired/art2/index.html
Australian Design Awards Graphic Design Basics
www.designawards.com.au/HOME www.graphicdesignbasics.com/index.html
www.boondocksnet.com/gallery/index.html
Clio Award Winners (examples of print, packaging, radio,
television, cinema, World Wide Web and Hall of Fame) MOWA – Museum of Web Art
http://clioawards.com www.mowa.org/enter.html
Clio award-winning Honda Home Page The Metropolitan Museum of Art

www.honda.com.au www.metmuseum.org/home.asp
Coca Cola Home page

www.cocacola.com
VCE STUDY DESIGN 63

Specific Visual Communication (Art) Topics History of Furniture

www.maltwood.uvic.ca/hoft/
Arc Space – architectural design and imagery
www.arcspace.com/html/studio.htm History of the Motorcar
http://spaghoops.com/squelch/histcars.htm
Architectonics
http://darkwing.uoregon.edu/~struct/ History of Post Cereals and Snacks
www.kraftfoods.com/postcereals/heritage.html
Art Studio Chalkboard
www2.evansville.edu/studiochalkboard/drawing and painting Kellogg’s character history
techniques www.kelloggs.com/company/marketing/history/index.html
Causes of Colour Medicine and Madison Ave

http://webexhibits.org/causesofcolor/index.html http://scriptorium.lib.duke.edu/mma/
Counter Space – typography and its history Olympic Revival

http://counterspace.motivo.com/ www.fhw.gr/projects/olympics/revival/
Color Matters The Incredible Art Department – art information and images
www.colormatters.com/ www.princetonol.com/groups/iad/
TrueType – fonts and typography especially digital fontology
Crayola Creativity Centre
www.truetype.demon.co.uk/
www.crayola.com/index.cfm
Décor Art ORGANISATION
www.art-deco.com/
Visual Communication Victoria Inc. (VCV)
Fonts.com Locked Bag 12
www.fonts.com/fontent/fontent_home.asp?con=type101 Hawthorn 3122
Great Buildings Tel: (03) 9810 3119
www.greatbuildings.com/ Website: www.vcv.asn.au
History of Fashion
www.teacheroz.com/fashion.htm
64 VCE STUDY DESIGN

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Visual Communication

Victorian Certificate of Education Study Design

Victorian Curriculum and Assessment Authority

Latoya BARTON Tarkan ERTURK

Liana RASCHILLA Nigel BROWN

Kate WOOLLEY Chris ELLIS

Christian HART Kristian LUCAS

Merryn ALLEN Ping (Irene VINCENT)

James ATKINS Tim JOINER

Accredited by the Victorian Qualifications Authority

Other sources of information

This study is designed to enable students to:

The study is made up of four units:

Each unit involves at least 50 hours of scheduled classroom instruction.

CHANGES TO THE STUDY DESIGN

MONITORING FOR QUALITY

8 VCE STUDY DESIGN

USE OF INFORMATION AND COMMUNICATIONS TECHNOLOGY

VCE STUDY DESIGN 9

VCE STUDY DESIGN 11

• Australian Standards conventions used in orthogonal drawing, including dimensioning and

Freehand drawing and rendering

VCE STUDY DESIGN 13

Design elements and design principles

14 VCE STUDY DESIGN

VCE STUDY DESIGN 15

16 VCE STUDY DESIGN

Representing and communicating form

• representations of circles and ellipses in paraline drawing;

18 VCE STUDY DESIGN

Developing visual communication solutions

VCE STUDY DESIGN 19

Visual communication in context

20 VCE STUDY DESIGN

VCE STUDY DESIGN 21

Visual communication design

VCE STUDY DESIGN 23

Visual communication analysis

24 VCE STUDY DESIGN

Professional practice in visual communication

VCE STUDY DESIGN 25

Assessment of levels of achievement

Contribution to final assessment

26 VCE STUDY DESIGN

Outcomes Marks allocated* Assessment tasks

Outcome 2 The analysis and evaluation should take one of

Outcome 3 The task should take one of the following forms:

Total marks 100

VCE STUDY DESIGN 27

VCE STUDY DESIGN 29

30 VCE STUDY DESIGN

Assessment of levels of achievement

Contributions to final assessment

VCE STUDY DESIGN 31

Outcomes Marks allocated* Assessment tasks

32 VCE STUDY DESIGN

All question types may not appear year to year.

The marks in the examination will be allocated in the following way:

Outcomes examined Approximate mark allocation in final

Practically based questions (Unit 3 Outcome 1 60–70%

Analysis of visual communications (Unit 3 Outcome 2) 15–20%

Professional practice (Unit 3 Outcome 3) 15–20%

Contribution to final assessment

VCE STUDY DESIGN 33