Visual Design HSC

Outcomes, Schedule, Task 1, Task 2, Task 3, Task 4, Task 5

HSC Assessment Visual Design

Objectives

Students will:

HSC Outcomes

A student:

1. Making Objective:

design and make a range of products;

DM1 generates a characteristic style that is increasingly self-reflective in their design practice;

DM2 explores concepts of artist/designer, kinds of designed works, interpretations of the world and audience/consumer response in their making of designed works;

DM3 investigates different points of view in the making of designed works;

DM4 generates images and ideas as representations/simulations;

DM5 develops different techniques suited to artistic and design intentions in the making of a range of works;

DM6 takes into account issues of occupational health and safety in the making of a range of works.

2. Critical and Historical Objective;

critically and historically study design works.

CH1 generates in their critical and historical practice ways to interpret and explain design;

CH2 investigates the roles and relationships among the concepts of artist/designer, work, world and audience/consumer in critical and historical investigations;

CH3 distinguishes between different points of view, using the frames in their critical and historical investigations;

CH4 explores ways in which histories, narratives and other accounts can be built to explain practices and interests in the fields of design.

Schedule

Outcomes, Schedule, Task 1, Task 2, Task 3, Task 4, Task 5

	Syllabus Weightings	Task 1	Task 2	Task 3	Task 4	Task 5
Nature of Task		Visual Design Process Diary	Problem Solving Project	Problem Solving Project	Research Project	Major Research Project
Timing of Task		Term 4 Week	Term 1 Week	Term 1 Week	Term 1 Week	Term 3 Week
Art making	70	20	20	30
Art Criticism & Art History	30				10	20
Outcomes		DM1 – DM5			CH1 – CH4
Marks	100	15	15	10	10	20

Task 3

Practice Artmaking, Critical and Historical Studies Practical Component Theory Component	Field: Wearable Design Module WD1: Clothing and Image Indicative Hours: 20 – 40 This module provides students with opportunities to explore ways in which personal or social images can be generated through clothing, informed by the critical and historical study of the work of designers, particularly those with an interest in wearable design. Content • recognise the importance of intentions, research, experimentation and innovation within their design practices • develop and refine the conceptual and material aspects of their practice through the exercise of critical reflection and judgement • explore the parameters and work within the specifications of design briefs based on such things as: – clothing as an identity statement expressing power, fantasy or rebelliousness – a costume for a special event or ceremony – clothes interpreting conventions of clothing style – theatrical costumes • use various expressive forms including drawing, painting, 3D, photography, fibre, computer graphics, film/video and printmaking to produce one-off garment product samples, sample boards, photographs, drawings and illustrations, or multi-media presentations • use one or more of the frames to focus investigations in making, and the critical and historical study of design. For example, teachers and students could consider: – structural elements and conventions used in fashion such as the symbolic use of shape, colour and texture in relation to the line, cut and function of a fabric – subjective considerations such as the expressive power of fashion to transform and create a particular identity and image for the wearer – cultural traditions in fashion and production such as issues of social acceptability, gender identification, and stereotyping, or comparative studies of designers such as Linda Jackson, Christian Dior, Bronwyn Bancroft, Mambo, Yves St Laurent, and the consumers of their works – postmodern issues such as the popularisation and marketing of fashion and image in the work of designers such as Jean Paul Gaultier, Calvin Klein and Benetton. Design a garment for a young woman or a young man suitable for nightclubbing, based on a culture other than Japanese or Australian. Make use of: · A style appropriated from your chosen culture. · Fabrics that will be suitable for the function and also reflect the chosen culture. · Fabric swatches · Suggested methods of construction Initial designs should be done in your VDPD or on computer and then pasted in your VDPD. Document the design processes in your VDPD. Use your sketches and notes on concepts and formal qualities in a layout that is eye-catching as well as informative. Further marks bwill be awarded for students that make and display their garment. Make a visual collection of contemporary fashion designs, both Australian and International, from pages of fashion magazines and the internet. Include at least five different designers. Lay out the images in your VDPD with the fashion designs of Akira Isogawa. Compare: · The types of ideas used · The construction methods used · The type of audience the designer is aiming for. Use a combination of the collected images and your text in your VDPD. Design the piece to give the audience maximum information, to have a strong visual impact and to be inviting to the reader.
Forms
Frames	Subjective	*Structural*	*Cultural*	Postmodern
Conceptual Framework	*Artist*	*Artwork*	*World*	*Audience*
Artists/ Examples	Akira Isogawa, Yohji Yamamoto, Jenny Key, Dinosaur designs
Outcomes	Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4
Assessment	Practical Component 30% Theory Component 20%

Task 1

HSC
Practice Artmaking, Critical and Historical Studies Practical Component Theory Component	Field: Interior/Exterior Design Module IED1: Structures and Environments Indicative Hours: 20 – 40 Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4 Description: This module provides students with opportunities to design buildings, shelters and the spaces around them, informed by the critical and historical study of the work of designers, particularly those with an interest in interior design, built environment and architecture. Content In this module students will learn to: • recognise the importance of intentions, research, experimentation and innovation within their design practices • develop and refine the conceptual and material aspects of their practice through the exercise of critical reflection and judgement • explore the parameters and work within the specifications of design briefs related to: – the planning and construction of a temporary shelter – the design of an existing building or environment – designing an environment for a particular group, eg a self contained unit – designing a house or shelter for a specific geographic context – exploration/research of a building or environment using time-based media such as video/film • use various expressive forms including drawing, painting, photography, 3D and computer graphics to produce plans, elevations, storyboards, architectural renderings and models in order to explore and present ideas for the design of environments and shelters • use one or more of the frames to focus investigations in making, and the critical and historical study of design: – structural elements and conventions used in architectural forms such as the use of space, mass, volume, scale, pattern, texture and colour, and the relationship of structure to site – subjective qualities of architecture, such as the effect of sculptural and other design qualities on our emotional response to architecture – cultural traditions in architecture influenced by materials, technologies and forms, modernist and historical traditions of architecture and environmental design; vernacular traditions in Australia – postmodern design in the built environment, significant local examples, the shifting ground of deconstruction, virtual architecture and the interdependence of theory. Design a self contained living space for a independent student, within the confines of the following dimensions: 3.6 x 3.6 x 4.2 metres. Your Brief: You must include : – One and Two point perspective drawings. – Hand Rendered drawings. – Computer rendered drawing – 3D model, made to scale. – Rationale for the design, (200 word) Compare and contrast the differing attitudes towards domestic architecture as imagined by the following TWO artists; Frank Lloyd Wright and le Corbusier. Discuss the audience (residents) reactions to the differing living habits envisaged by these two architects.
Forms
Frames	Subjective	*Structural*	*Cultural*	Postmodern
Conceptual Framework	*Artist*	*Artwork*	*World*	*Audienc*
Artists/ Examples	Frank Lloyd Wright, le Corbusier, Marc Newson, Mies Van der Rohe, Marcel Bruer
Outcomes	Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4
Assessment	Practical Component 30% Theory Component 20%

Task 2

Practice Artmaking, Critical and Historical Studies Practical Component Due Date: Theory Component Due Date:	Field: Wearable Design Module WD1: Clothing and Image This module provides students with opportunities to explore ways in which personal or social images can be generated through clothing, informed by the critical and historical study of the work of designers, particularly those with an interest in wearable design. Content In this module students will learn to: • recognise the importance of intentions, research, experimentation and innovation within their design practices • develop and refine the conceptual and material aspects of their practice through the exercise of critical reflection and judgement • explore the parameters and work within the specifications of design briefs based on such things as: – clothing as an identity statement expressing power, fantasy or rebelliousness – a costume for a special event or ceremony – clothes interpreting conventions of clothing style – theatrical costumes • use various expressive forms including drawing, painting, 3D, photography, fibre, computer graphics, film/video and printmaking to produce one-off garment product samples, sample boards, photographs, drawings and illustrations, or multi-media presentations • use one or more of the frames to focus investigations in making, and the critical and historical study of design. For example, teachers and students could consider: – structural elements and conventions used in fashion such as the symbolic use of shape, colour and texture in relation to the line, cut and function of a fabric – subjective considerations such as the expressive power of fashion to transform and create a particular identity and image for the wearer – cultural traditions in fashion and production such as issues of social acceptability, gender identification, and stereotyping, or comparative studies of designers such as Linda Jackson, Christian Dior, Bronwyn Bancroft, Mambo, Yves St Laurent, and the consumers of their works – postmodern issues such as the popularisation and marketing of fashion and image in the work of designers such as Jean Paul Gaultier, Calvin Klein and Benetton. Create a character for either a horror movie or a transformer movie. Using a variety of techniques construct your character. Make use of imaginative visual qualities that reflect aspects of the personality eg exaggeration and distortion. Research Richard Taylor and Tania Rodger’s design practice in Weta Workshop on the Lord of the Rings. (www.wetaworkshop.co.nz) Refer to The ideas The use of technology The choice of materials The methods of construction
Forms
Frames	Subjective	*Structural*	*Cultural*	Postmodern
Conceptual Framework	*Artist*	*Artwork*	*World*	*Audienc*
Artists/ Examples	Frank Lloyd Wright, le Corbusier, Marc Newson, Mies Van der Rohe, Marcel Bruer
Outcomes	Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4
Assessment	Practical Component 30% Theory Component 20%