Visual Design PHSC

Course: Visual Design

Course Description:

This course encourages students to explore and investigate their natural world and to use the perceptions gained through these experiences as a basis for developing and giving form to their ideas in the different fields of graphic design, wearable design, product design and interior/exterior design. It enables students to pursue their interests in the products, materials, techniques and technologies that have a personal and social relevance and provides course modules that challenge and extend their intellectual and technical skills.

Assessment Schedule:

	Syllabus Weightings	Task 1	Task 2	Task 3	Task 4	Task 5
Nature of Task		Problem Solving Project	Process Diary	Research Project	Problem Solving Project	Research Project
Timing of Task		Term 1 Week 6	Term 2 Week 1	Term 2 Week 9	Term 3 Week 7	Term 3 Week 10
Marks	100	30	20	15	20	15

Task 1

Practice Artmaking, Critical and Historical Studies Practical Component Theory Component	Field: Graphic Design Module GD1: Publications and Information Indicative Hours: 20 – 40 Description This module provides students with opportunities to design and make publications, promotional material and information, informed by the critical and historical study of the work of designers, particularly those with an interest in graphic design. Content: • explore the parameters and work within the specifications of design briefs related to the production of publications such as: – a child’s book – a special interest magazine dealing with, for example, fashion, sport or hobbies – a record of a special event or occasion, eg, a school sporting activity or dramatic performance, art exhibition or excursion – posters, pamphlets, CD covers, leaflets, programs, tickets, and labels of particular genres – signage for a specific location or business, eg, a hospital, canteen or railway station – monograms and font designs using different fonts, typefaces, lettering styles – identity designs, logos and symbols • use various expressive forms including drawing, painting, photography, computer graphics, film, printmaking and lettering/fonts, and to combine these with text to illustrate stories, add visual interest and document situations and events. Select three of the above exercises and produce 3 Body of Works, including promotional material and finished product. Consider: – structural elements and conventions used in the layout of graphic material, the role of typography, the transformation of words and images into symbols, and the use of colour to convey particular feelings, associations, and ideas – subjective approaches conveying particular ideas, moods or feelings suggested by image, story and text – cultural traditions in publication, design and production, eg William Morris and the Arts and Crafts movement; the impact of significant design movements, eg Bauhaus, Constructivism and De Stijl; April Greiman and her use of computers in publication design; comic book design, eg the work of Neville Brody – postmodern approaches which challenge traditional typographical conventions, and the use of electronic technologies to generate, appropriate and transform images and text, eg Grunge typefaces. Investigate by means of a case study the work of Walter Gropius or William Morris and the Arts and Craft Movement.
Forms	Print – the visual image in advertising, typographic forms, individual and group identity – 2D computer generated images, drawing, painting, printmaking
Frames	Subjective	*Structural*	*Cultural*	Postmodern
Conceptual Framework	*Artist*	*Artwork*	*World*	*Audience*
Key Artists/ Examples	Earthworks Poster Collective, Matilda Graphics, Redback Graphix, Tin Sheds, Garage Graphix, Francisco Goya, Marie McMahon, Toni Robertson, Chips Mackinolty, Norman Lindsay, Harold Freeman, Chris O’Doherty (Reg Mombassa) and Mambo designs and posters, Francisco Goya, David Carson, Neville Brody, type face and font designs websites, youth magazines
Outcomes	Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4
Assessment	Practical Component 30% Theory Component 10%

Task 4

Practice Artmaking, Critical and Historical Studies Practical Component Due Date: Theory Component Due Date:	Field: Product Design Module PD2: Furniture This module provides students with opportunities to design and make furniture for a range of purposes, informed by the critical and historical study of the work of designers, particularly those with an interest in product, furniture and object 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 furniture as: – chairs to meet ergonomic or special needs – furniture celebrating a specific theme/occasion – tables exploring the structural limits of a particular material – furniture addressing a given need — comfort, simplicity, portability, collapsibility – symbolic furniture — throne, podium, rostrum, ottoman – a mirror frame based on an art style or movement – furniture adapting found materials – a candlestick or pedestal • use various expressive forms including drawing, painting, 3D, photography, fibre, ceramic, computer graphics and printmaking to produce prototypes, plans and models • 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 in furniture such as the relationship of form to function and the influence brought about by available materials and technologies such as bentwood and mouldable products – subjective approaches which use imagination, humour or intuition as a basis for furniture design, eg the ‘G'day chair’ by Brian Sayer and Christopher Connell – cultural traditions in furniture design and production or styles such as Art Nouveau and Bauhaus, studies of individual designers such as Mies van der Rohe, Eero Saarinen and Charles Eames, and links to architectural context – postmodern considerations such as the ways in which Memphis and other furniture designers challenge traditional boundaries between art, function and design. Find an image of Marc Newson’s Embryo on the Internet. Design a chair with three legs, but, instead of appropriating the curved forms that Newson has used, use straight edged, geometric forms. The design could be done by hand on paper or on a computer. Document the design process in jour diary. Use a combination of your sketches and notes on concepts and proposed materials and methods of construction. Research Newson’s design for the Qantas Skybed on the internet. Discuss his design practices in relation to this design. Explain the designer’s influences, ideas and concepts Explain the aspects of the function of the skybed which affected the design. Explain the choice and use of materials and methods of making the skybed. Collect images of this object and combine with your text in your diary.
Forms
Frames	Subjective	*Structural*	*Cultural*	Postmodern
Conceptual Framework	*Artist*	*Artwork*	*World*	*Audience*
Artists/ Examples	Frank Lloyd Wright, le Corbusier, Marc Newson, Mies Van der Rohe, Marcel Bruer, Bauhaus
Outcomes	Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4
Assessment	Practical Component 30% Theory Component 20%

Task 3

Practice Artmaking, Critical and Historical Studies Practical Component Due Date: Theory Component Due Date:	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 2

Practice Artmaking, Critical and Historical Studies Practical Component Due Date: Theory Component Due Date:	Field: Graphic Design Module GD2: Illustration and Cartooning Indicative Hours: 20 – 40 This module provides students with opportunities to produce illustrations and cartoons with different purposes and for different audiences, informed by the critical and historical study of the work of designers, particularly those with an interest in graphic 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 related to the illustration of texts and cartooning such as: – science fiction, fantasy stories, song lyrics and poetry – editorial illustration for newspapers and magazines – political or social commentary – caricatures – comic strips and books – animated cartoons – scientific/technical illustration ( Select TWO of the above and produce a resolved Body of Works based on your own concept. · You could take comic strips and using your favourite character develop a comic strip. This should be totally resolved, using colour, line and an interesting storyline. · Using Flash develop an animated Flash movie using an interesting concept. · Present a cutaway design of a new car or an older hotted up car. use one or more of the frames to focus investigations in making, and the critical and historical study of design – structural elements and conventions such as the relationships between image and text, visual styles and their interaction, different techniques (close-ups, distortion and exaggeration, substitution, juxtaposition and changed context of familiar objects, situations and events), the use of symbolic associations – subjective approaches which exploit the designer’s and the reader’s imagination and personal experience – cultural influences of a diverse range of illustrators and cartoonists such as Briggs, Sendak, van Calcar, da Vinci, Leunig and Bancks – postmodern approaches such as the parody of cultural icons in the work of Steadman, Swain, and Monty Python. Cultural Frame Compare the animation style of Nick Park with a contemporary animated film-maker from Australia. Collect still images from the work of both artists. Compare 1. The types of ideas they use. 2. How these ideas are reflected in the “look” of each style. 3. The main visual qualities of each style. Use a combination of the collected images and your text in your answer. Design the piece to give the audience maximum information, to have a strong visual impact and to be inviting to the reader
Forms	use various expressive forms including drawing, painting, computer graphics, film/video, photography and lettering/fonts to design illustrations which aesthetically enrich the text and convey meaning in the text through visual images
Frames	Subjective	*Structural*	*Cultural*	Postmodern
Conceptual Framework	*Artist*	*Artwork*	*World*	*Audience*
Artists/ Examples	Briggs, Sendak, van Calcar, da Vinci, Leunig and Bancks, Steadman, Swain, and Monty Python.
Outcomes	Outcomes: DM1, DM2, DM3, DM4, DM5, DM6, CH1, CH2, CH3, CH4
Assessment	Practical Component 30% Theory Component 10%