Planning

Having researched and reframed human-centered design problems, students prepare a brief describing criteria for a communication need. The purpose of this task is to consolidate skills aligned with the Discover and Define stages of the VCD design process, so there is no requirement for students to resolve the design problem they pose. However, they could be encouraged to pose problems without concern for study-imposed constraints such as timelines, available resources or existing levels of expertise. Alternatively, teachers might choose to link all three outcomes explored in Unit 1, selecting problems to research in Outcome 1 that could be resolved in Outcomes 2 and 3. For example, students might investigate the environmental impact of children’s plastic toys in Outcome 1, before designing the brand strategy for a range of sustainable play products in Outcome 2, and a toy from the collection in Outcome 3.

The project-based approach to learning in Area of Study 2 enables students to recognise the relationships between design elements and principles, media, methods and materials, their purposes, audiences and contexts, and to understand how their application is driven by a specified communication need.

Teachers could provide students with a given brief detailing communication needs, such as a logo and suite of visual elements to roll out over social media, advertising or packaging. The brief should be broad enough in scope to accommodate varied interpretations and proposed solutions, and invite students to explore the design problem in original and creative ways.

Projects should illuminate the varying components of visual language used to position a brand, and offer opportunities for students to explore both manual and digital methods, media and materials as they develop design ideas. This outcome also introduces students to issues of copyright and intellectual property, and these expectations should be embedded in all practical tasks. Relevant case studies of brands impacted by copyright infringements or ethical dilemmas could also be shared. Area of Study 2 also asks students to engage in a design critique for the first time, so skills in giving and receiving feedback should be scaffolded appropriately. Students might at this stage of their studies participate in small-group discussions about their work-in-progress, adopting descriptive design terminology and practising the delivery of constructive comments to peers.

In Area of Study 3, teachers might choose to link Outcome 3 to Area of Study 2, posing a second design problem for the client whose brand strategy has now been resolved, or instead provide a fresh brief with new parameters. Teachers should ensure that the brief poses a problem that can be solved in a range of innovative ways, and that a sustainable solution is stipulated. It is also important that tasks can be differentiated for varying levels of technical drawing proficiency among student cohorts, and can be completed in the available time frame.

This outcome introduces students to documentation drawings used when designing three-dimensional objects, so teachers must explicitly teach appropriate drawing systems and conventions aligned with relevant Australian Standards for technical drawing. When proposing design solutions, teachers and students should refer to the VCAA Technical Conventions, a modified version of the Australian Standards used in the context of VCE Visual Communication Design. Teachers should also introduce rendering techniques used to simulate surfaces, materials, texture and form, and explicitly teach methods used to depict the direction of light, shade and shadow.

Alongside their development of an object, students should learn about circular design practices and consider the life cycle of their own design solution, while engaging in discussion about the influences of and on design in both past and present contexts.

Good design

In Unit 1 teachers introduce both universal and culturally specific notions of good design from the past and present, identifying factors that impact definitions such as shifting consumer priorities, diverse audience needs and an increasing awareness of design’s impact on our planet. During activities and discussions, students should reflect on the role of visual language in determining a design’s success.

Students use their investigation to formulate their own conceptions of good design. They learn to analyse design examples against criteria and make judgements about the value of their selection of examples.

The following weblinks provide information on principles of Good Design. These links are included in the teaching and learning activities for Unit 1 Area of Study 1.

• German industrial designer Dieter Rams’ list of good design principles formulated in the 1970s
• Good Design Australia’s Good Design Awards criteria, and other international design competitions
• Victorian Premier’s Good Design Awards criteria
• Fortune’s 100 Greatest Designs of Modern Times
• The Institute of Architects selection of good design publications
• The elements of Country-centred design valued by Aboriginal and Torres Strait Islander communities: Design connected to Country - First Nations design, Good Design Australia Indigenous designer award
• The Museum of Modern Art online collection of Design
• The principles of inclusive or universal design originating in the field of architecture
• Interaction Design Foundation.

Human-centred design problems and research methods

Students conduct human-centered research to learn more about a design problem and its audience or users. When collecting and analysing data, it is important for students to adopt ethical research practices based on the principles of respect, honesty and responsibility. When presenting research findings, students should explore how best to display visual information in ways that are engaging, accessible and easy to understand. More information can be found on the Victorian State Government website Human-centred design. 

Collaboration

In Area of Study 1, students use their evolving conceptions of good design to identify design opportunities, and work together to conduct human-centered research. Contributing to a team of researchers helps to prepare students for the collaborative dynamics of design studio environments, therefore it is important for students to build respectful and productive relationships among peers.

Preparing a design brief

A design brief is a written document detailing the specifications of a design project. Information is recorded about a client and their communication needs, including the intended audiences or users, context(s) and purpose(s) of the proposed designed outcomes, any important design considerations or constraints and the proposed formats of design solutions. A design brief should include the following information:

Client profile

Who has requested a solution to a design problem? What is the name of their business or organisation? Where are they located? How would you describe their services and company values?

Communication need(s)

What is the design problem or opportunity? What design solution is required?

Purpose

Why is the designed outcome needed? How will it function or be used?

Audience / User

Who will use or benefit from the designed outcome?

Context

Where, when and how will audiences or users interact with the designed outcome?

Design constraints or considerations

Are there any expectations or limitations that have been established by the client, or that became evident after conducting research into the problem at hand?

Presentation format

In what format(s) would the client like the design solution to be delivered?

Design solution

A resolved response to a design problem or opportunity, presented in a format that clearly communicates the design’s potential to stakeholders. Design solutions are converted into actual designed outcomes through the stages of production and implementation.

Designed outcome

The actualised artefact or experience resulting from a design process, together with its impact.

Design critiques

Design critiques provide opportunities to not only give and receive feedback on work in progress, but to also practise communicating design intentions, reflecting on the direction and objectives of projects, and framing criticism in respectful ways. Critiques can be scheduled at varying stages of a project and delivered in formats such as a presentation to a small group, conversations in pairs, a silent critique where feedback is recorded digitally or on paper, or gatherings around work displayed on the wall.

Before a critique takes place, its scope, purpose, length, format and rules should be made clear so that presenters are well prepared, and feedback is targeted and respectful. Participants in larger groups should be allocated roles such as facilitator and notetaker, ensuring feedback is recorded, concise and specific, and all voices are heard.

In Unit 2 Area of Study 1, students propose their own environmental design solution, perhaps responding to a given design problem or location, or discovering their own site-specific opportunity. Teachers might choose to focus this outcome on a discipline such as architecture, interior, exhibition or landscape design, integrating the interests of students into project themes. Teachers should also introduce students to selected historical design movements and traditions, together with a culturally-diverse collection of design examples from the past and present. Students should use this exposure as inspiration for their own environmental design solution, keeping in mind the designer’s ethical responsibilities and the principles of culturally responsive design.

During this area of study, students learn to produce documentation drawings typically used to design environments, selecting appropriate drawing systems and applying conventions aligned with relevant Australian Standards for technical drawing. When proposing environmental design solutions, teachers and students should refer to the Technical Conventions Resource, a modified version of the Australian Standards used in the context of VCE Visual Communication Design.

Alongside project-based outcomes in Unit 2, Area of Study 2 offers the opportunity to explore culturally appropriate design practices relating to Indigenous communities, with a particular focus on representations of Aboriginal and Torres Strait Islander design traditions and knowledge. Students should be introduced to relevant protocols and principles including the Australian Indigenous Design Charter and Protocols for using First nations Cultural and Intellectual Property in the Arts. First Nations-led design initiatives or culturally appropriate collaborations with Aboriginal and Torres Strait Islander designers should also be shared with students, while examining the impact of unethical and exploitative examples. Opportunities might also be offered to explore other representations of Indigenous knowledge, including those of personal significance to students or the wider school community.

Students apply what they have learnt about ethical design practices to their own development of personal iconography, ensuring that only original marks and symbols are generated rather than appropriated imagery. When asking students to develop personal iconography, it is important to note that some may not be comfortable exploring past or personal experiences, or ideas of identity. Teachers should, therefore, tailor projects so that themes can be approached in various ways. A student, for example, might depict a place they would like to visit rather than revisit past memories, or depict an imaginary day in the future rather than an event experienced in the past.

Other resources include:

VAEAI – Victorian Aboriginal Education Association Inc.
Protocols for Koorie Education in Victorian schools
Cultural Understanding and Safety Training (CUST)
Victorian Department of Education and Training
The Framework for Embedding Koorie Cultures, Histories and Perspectives in Victorian Schools
United Nations Declaration on the Rights of Indigenous Peoples
Koorie Heritage Trust Victoria

In Area of Study 3, students investigate how visual communication design shapes interactive experiences and how designers contribute to the broader user-experience. The following distinctions between interaction and user experience design should be noted when developing appropriate tasks:

User experience (UX) design

User experience design seeks to optimise all aspects of a user’s engagement with a product, system or service. User experience design incorporates extensive analysis of user research, usability testing, prototyping, an understanding of information architecture, and the management of a product’s development and implementation including its underlying functionality.

Interaction design

Interaction design is a subset of user-experience design. Interaction designers (also called user interface designers) work as part of UX teams to develop the aesthetic components of a digital interface. Their role is to ensure the visual touchpoints of an interface are intuitive, aesthetically pleasing and responsive to the needs of diverse users.

While the disciplines of user experience and interaction design overlap in many ways, it is important for students to focus on the role of visual communication in providing positive user experiences, as students design an interface for a digital site or device.

Teachers should highlight the important role of user testing in the design of interactive experiences, and introduce students to human-centered research methods typically used in the field, such as journey mapping, wire-framing or the production of user-flow diagrams. As students develop an interface for a digital product, environment or service, their focus should be on the potential of visual components to enhance interactive experiences, experimenting with typographic conventions, visual grids, icons, symbols, pictorial representations, design elements and principles, and Gestalt principles of visual perception.

Students can present resolved interaction design solutions as either high-fidelity prototypes with clickable components or static mock-ups displaying intended content and interactions. It is important to note that the ability to code or produce functioning prototypes using specialised software is not a requirement of this study.

Given the constraints of time, it is important that both project-based tasks in Unit 2 are made manageable in scope and size, and that reasonable expectations are established for work completed at each design process stage. For example, teachers might streamline the Discover and Define stages by sharing research responsibilities across the class, or propose design opportunities that are intentionally small in scale but with endless possibilities for innovation. Students should be discouraged from pursuing overly ambitious projects and design solutions, while avoiding the production of time-consuming and unnecessarily complex models, mock-ups, drawings or prototypes.

In Unit 3, students delve deeply into the role of visual communication in professional design practice. In Area of Study 1, students learn about contemporary designers and their work through both research and hands-on experience, with opportunities to focus on specialist areas of interest. While it is not a requirement for students to investigate all fields of design practice, they must compare practices of designers and teachers might choose to introduce each field through small tasks or presentations, exposing students to the breadth of roles and relationships that exist across contemporary design professions. However, opportunities should be provided for students to hone skills and knowledge in areas of personal interest, and that will support their learning and achievement in the School-assessed Task.

Selecting designers for study

Students must compare the practices of contemporary designers. They can focus on designers whose practices invite comparison, whether working in the same or a different field of design practice. Students should investigate designers whose practices contrast in context, method, purpose and / or process, with teachers ensuring that sufficient information is available about how, where and with whom they work. Teachers might invite designers to visit the classroom, arrange excursions to design studios, organise a presentation with nearby schools, conduct remote interviews or access existing case studies available online. Students might document their findings in a written comparison, annotated visual report, or presentation supported by digital content such as an online presentation or interactive website. Questions such as those below can guide their analysis:

• What is the role of visual communication in your chosen field(s) of design practice?
• What design conventions and terminology are typically used in your chosen field(s) of practice to communicate design ideas?
• In what contexts do your chosen designers work?
• What visual communication practices are used by your chosen designers when addressing design opportunities?
• What methods, materials and media are used by your chosen designers, and why?
• How do your chosen designers use visual language to communicate ideas to audiences, specialists and stakeholders?
• What factors influence the ways in which your chosen designers work?
• How, why and when do your chosen designers collaborate with others both in and beyond the workplace?
• What techniques are used by your chosen designers to evaluate design ideas?
• What decisions are made by your chosen designers during the resolution of design ideas?
• How do your chosen designers meet ethical and legal obligations? Have these obligations changed over time?
• Do sustainable practices play a role in the work of your chosen designers?
• How have your chosen field(s) of design practice changed over time, including conceptions of good design? How might they continue to evolve in the future?
• What are the similarities between the practices of the designers you have selected to research? Use the questions above to formulate your comparison.

Practical design exercises

Determining the scope

Alongside their comparative case study, students present a minimum of two practical design exercises exploring methods, media, materials and conventions and techniques relevant to the selected field(s) of design practice.

Teachers should ensure students are familiar with each of the fields of design practice before embarking on practical exercises, so that informed choices can be made about their focus. Teachers might, for example, share introductory videos, presentations or publications, conduct interviews or collaborative research, or use virtual pinboards to create shared class resource collections. They could invite students to initiate their own areas of inquiry, or offer starting points such as an open-ended brief or site visit to a nearby location. Exercises might also be inspired by contemporary designers chosen for study. Students might present exercises aligned with just one field of practice or explore methods from multiple fields. Teachers might also merge Areas of Study 1 and 2, using case studies of contemporary designers as inspiration for practical exercises, while analysing examples of their work and comparing their practices.

Undertaking practical design exercises

When undertaking practical exercises, students should apply visual communication practices typically used in the selected field(s) of study. It is important that the breadth and scope of exercises is made achievable in the allocated time frame, and that they enable students to demonstrate awareness of relevant industry standards, conventions, ethical practices, and conceptions of good design.

Students should determine the purpose(s) of their practical exercise and use this to guide the selection of appropriate methods and formats for presentation. While some exercises might respond to a design problem and result in a finished solution, it is not a requirement in this area of study for students to resolve design concepts or complete a design process in its entirety. Practical exercises should instead align with specific design stages or skills, such as the use of marker rendering to produce ideation sketches or application of digital tools to manipulate type.

It is appropriate for existing source material to be used as starting points for practical exercises, such as local streetscapes drawn in perspective, a children’s toy presented as orthogonal views, or a website represented as wireframes or a floor plan from a real estate website that is to be redrawn with elevations and dimensioning. When integrating existing sources into practical exercises, students must remember their ethical and legal obligations regarding ownership and copyright, and appropriately acknowledge all references and sources of inspiration.

Students might choose to accompany their practical exercises with a brief written reflection on the learning that took place, using the following prompts as a guide:

• What was the purpose of your practical exercise, and has it succeeded in fulfilling its function?
• How is your practical exercise typical of the selected design field in its use of materials or methods, conventions, aesthetic components or conceptions of good design?
• How have you used visual language in ways that are appropriate for selected audiences, purposes and contexts?
• How have you fulfilled ethical and legal obligations when completing your practical exercises?

In Area of Study 2, students build on their understanding of professional design practice by analysing design examples from selected field(s) of design practice. Students can continue to study the field(s) of design practice or the practices of designers explored in Area of Study 1, choosing examples that demonstrate an effective application of visual language. Design examples might be analysed in person or sourced from locations such as design journals, websites or digital collections, with reference material appropriately acknowledged.  

When comparing design examples, students could evaluate the impact of aesthetic decisions made by designers, and how these contribute to the communication of information and ideas. It is not necessary for students to access information about the designer’s process or intentions. Instead, they could draw from their chosen examples to determine the roles and relationships of aesthetic components, identifying factors influencing design decisions and evaluating techniques used to address perceived communication needs.

Student might use the following questions to guide their comparative analysis:

• What is the purpose and impact of design elements and principles used in the selected design examples?
• What methods, materials and media have been used, and what is their role and value?
• What factors have influenced aesthetic decisions made during the design of selected examples?
• What aesthetic considerations respond to the design’s purpose(s), context, audience or user?
• What ideas and / or information is communicated through visual language?
• How do the design examples reflect conceptions of good design?

The School-assessed Task commences in Area of Study 3, as students explore the first three phases (Discover, Define and Develop) of the VCD design process in response to a design problem or opportunity. When selecting a field or fields of design practice on which to focus, students should be encouraged to integrate the skills and knowledge of professional practice acquired in Area of Study 1, and to pursue themes that will maintain their interest for the duration of the task.

In the research phase students should begin by thinking divergently about a chosen design problem, selecting human-centered research methods to learn more about stakeholder perspectives and other influential factors. Teachers should ensure students are familiar with a range of research methods, and assist in selecting those that are most suitable considering the constraints of resources and time. Students should be reminded of their ethical obligations when engaging with research participants, and present their collected data in ways that illuminate significant findings.

The insights from the research the students conduct should be used to reframe and clarify a design opportunity that can be used to formulate a single design brief defining two communication needs. These needs must be distinct from one another in purpose and presentation format. While the needs of a real client can be addressed in this task, it is important that expectations and timelines align with requirements of this study, and opportunities for creativity and innovation are encouraged.

Design criteria, which are typically included in the design brief, must be considered by designers when creating a design solution. These criteria describe the proposed audiences or users, the purposes of designed outcomes, possible contexts, and design constraints, which may include specifications requested by the client (such as essential dates on a poster or instructions on packaging), budget restrictions (requiring a limited colour palette, for example), media or material preferences (such as durable finishes for outdoor use), or contextual considerations (such as the need to capture a restaurant’s style and mood in its branding). By considering these design criteria throughout the design process, designers can develop effective solutions that meet the needs of the client and intended audience while ensuring that the work is appropriate and meets the needs of all stakeholders involved in the project.

Students collect and analyse sources of inspiration aligned with their brief, before generating design ideas. Students should produce a range of development drawings before sharing ideas-in-progress with peers for critique. Teachers should ensure that the purpose, scope, length, format and rules for critiques are clearly communicated to students, and that participants understand their roles when feedback is given and received.

In Unit 4, students continue to explore the VCD design process, evolving design ideas into concepts and presenting solutions for two distinct communication needs. Students focus specifically on the Deliver phase of the design process, engaging in an interactive cycle of reworking ideas in light of feedback, revisiting research and reviewing the client’s needs. Students should choose methods, materials and media appropriate for the refinement, documentation and testing of selected design concepts, and may throughout the process produce development drawings, documentation drawings, mock-ups, models or prototypes.

The pitch

When students have resolved a selection of design concepts, they devise a pitch during which one concept for each communication need is shared with an audience. A pitch is a multimodal presentation in which students explain their design thinking and justify proposed concepts in light of a brief and its communication needs. In the context of VCE Visual Communication Design, students might present their pitch to peers and / or teachers who offer constructive feedback so that additional modifications can be made. These responses inform further refinements to the selected design concepts, before each solution is finalised.

The pitch should incorporate components such as visual imagery, oral language and written text, with modes of communication chosen to inform audiences of the decision-making process and to justify approaches and solutions. Students should consider the ways in which these components of their presentation complement one another, and incorporate appropriate design terminology when explaining processes and the evolution of ideas. Other considerations include the structure and timing of their presentation, and how feedback will be delivered and documented.

In Area of Study 2, students present design solutions for each of the communication needs addressed in Area of Study 1. In their selection of formats and application of visual communication practices, students should aim to emulate design industry standards and conventions, and adopt conceptions of good design aligned with the chosen field of design practice. Students should also ensure that visual language is used in ways that are appropriate for selected audiences, contexts and purposes, and that they fulfill relevant ethical and legal obligations.

Engaging third parties in the design process

Students must have creative control over technical processes used during their completion of the School-assessed Task, and acknowledge any third party assistance in the presentation of design solutions. Assistance in such areas as printing, construction, photography or digital development must be identified in the design process folio, with distinctions made clear between student and outsourced work. It is important that teachers can authenticate students’ work at all stages of the School-assessed Task.

While students might choose to present design solutions as high-fidelity prototypes with working components, the ability to code or produce functioning prototypes using specialised software is not a requirement of this study. Students might instead present solutions as static mock-ups displaying intended content and functions.

Students should be discouraged from using ready-made design templates sourced online, stock photography and vector graphics, and generic software patterns and effects without manipulation.

The School-assessed Task runs over Units 3 and 4 and advice about the Scope and Nature of the task, the assessment criteria and authentication information are provided in the VCAA VCE Visual Communication Design: Administrative information for School-based Assessment published on the VCE Visual Communication Design Study Design page annually. Teachers should read this information when they are developing their learning activities.

When applying the VCD design process, students typically document their evolution of design ideas, concepts and solutions in a folio of visual and written work, following the four stages of the double diamond model where applicable: Discover, Define, Develop and Deliver.

An overview of how students might document their work at each stage is offered below.

Discover

During the Discover stage, students might brainstorm potential design problems or opportunities, select appropriate methods for data collection, document insights they have gathered, and record the findings of human-centered research.

Define

During the Define stage, students would explore ways to visually present their research data so that information can be categorised and analysed, and design problems can be better understood. This might include the presentation of user personas and key research insights, together with written reflections about stakeholders and the design problem at hand. This information informs the development of a brief, which as a formal document, would be typed and presented at this stage of the design process.

Develop

During the Develop stage, students would begin by gathering, presenting and analysing sources of inspiration relevant to the design problem at hand. They might also brainstorm a list of key words aligned with the communication need, before documenting design ideas developed in response to their brief and its design criteria. This could include a combination of both words and images, with rapid drawing media and techniques used to quickly capture responses to the problem at hand.

Folio pages at the Develop stage should explore ideas in imaginative, experimental and novel ways, with divergent thinking employed to ensure a varied selection of approaches to the problem. Students might incorporate ideation sketches, typographic treatments, mood boards, experimentation with media and materials, wireframes or low-fidelity prototypes. They would also document any feedback or critique received from teacher and peers.

Deliver

At the commencement of the Deliver stage, students would record decisions informing their selection of design ideas, before beginning the process of refinement and evaluation. Students might choose one or more design ideas to explore in depth, applying design elements and principles, methods, media and materials and annotating about their potential. As students evolve ideas into more resolved design concepts, they maintain a clearly sequenced record of the process via drawings, diagrams, photographs, digital printouts or samples of work in progress. Annotations would offer a critical analysis of these concepts, while also capturing the challenges and obstacles encountered along the way.

The Deliver stage would also incorporate the testing of design concepts as they evolve, with the nature of this testing and its findings documented in the folio before making revisions where necessary. This might include the creation of prototypes or mock-ups to share with stakeholders for review. Students would also document feedback gathered during design critiques, and record both their preparation and the insights gleaned from a design pitch delivered at this stage.

When a chosen design concept has been resolved, students would document their selection of an appropriate format for the presentation of the finished design solution. To conclude the folio, a copy or version of the design solution(s) may be presented alongside a written rationale.

The VCD design process consists of both divergent and convergent thinking.

Divergent thinking

Divergent thinking is essential for generating a wide range of ideas, exploring multiple possibilities and developing creative solutions to design problems. Designers who use divergent thinking are willing to take risks, challenge assumptions and explore ideas that may seem unconventional or untested. They embrace ambiguity and uncertainty, allowing their imagination to run free and considering a multitude of potential solutions. Divergent thinking can be used initially in the Discover stage, where an open-minded approach to problem finding is essential, while it can also be used throughout the Develop stage to generate a wide range of ideas.

Convergent thinking

Convergent thinking is crucial for refining and selecting the most appropriate solution from among the various ideas generated during the Define and Deliver stage of the VCD process. Designers who use convergent thinking are analytical and critical, carefully weighing the pros and cons of different options, comparing and synthesizing information, and making informed decisions based on their evaluation of the available data.

To achieve success in the design process, designers must be able to use both divergent and convergent thinking strategies effectively. They must be able to move back and forth between the two modes of thinking, using divergent thinking to generate a wide range of ideas and convergent thinking to refine and select the best solution.

Annotating the VCD design process

In VCE Visual Communication Design, annotations are notes or comments added to research, drawings, mock-ups or refined designs that describe the design decisions made, and that evaluate the ideas in light of the brief. Annotations are a useful tool for students because they help them to develop and communicate their design ideas more effectively.

By adding annotations throughout their folio, students can explain the reasoning behind their design choices and evaluate the strengths and limitations of their ideas. This process encourages critical thinking and reflection, which is an essential part of the design process. It also helps to develop the students' ability to articulate their design ideas to others, which is important when communicating with clients or presenting their work to a wider audience.

Annotations using descriptive and analytical design terminology are particularly useful because they provide a clear and structured way of explaining design decisions. Design terminology helps to communicate specific design elements, principles and techniques, which makes it easier for others to understand the design work. This can be especially helpful when receiving feedback or critique from peers or tutors.

Annotations can also be used to track the progress of a design project and to show how ideas have developed over time. By annotating within their folios at different stages of the design process, students can see how their ideas have evolved and improved. This helps to build confidence in their design abilities and reinforces the importance of reflection and evaluation in the design process.

Manual and digital methods

Methods refer to the manual or digital processes used to evolve design ideas, concepts and solutions. Methods can include, but are not limited to: drawing, collage, printing, photography, digital-based methods, model-making and prototyping.

Digital based methods

Digital-based methods refer to the use of digital technologies and software to create and manipulate images, designs and other visual content. These methods include the use of computer software for graphic design, illustration, animation, modelling, as well as the use of digital photography and printing.

Some common digital-based methods used in visual communication design include vector-based applications, for creating logos and other graphics; raster-based applications, for retouching and manipulating digital images; and CAD and three-dimensional modelling software.

Drawing

Drawing is a crucial method that underpins the subject of Visual Communication Design. It can be undertaken manually using traditional media such as pencils, pens, charcoal, markers, etc. or it can be digitally produced using raster-based or vector-based media. Drawing can be freehand or technical, and can be further broken down into development drawings, documentation drawings and presentation drawings.

Development drawings

Development drawings are preliminary visual representations created by designers at the early stages of a design process to explore and document their ideas. They can take the form of rough sketches, diagrams, schematic drawings, storyboards, or other visual aids and are used to test and experiment with different approaches before creating finished designs. The main objective of development drawings is to identify potential problems or areas for improvement early on in the process and make necessary changes before refining and completing documentation and presentation drawings.

Documentation drawings

Documentation drawings refer to the detailed visual representations that are created to document the technical specifications of a design. These drawings typically include orthogonal drawings, architectural plans, elevations and sections, packaging nets and technical flats, perspective drawings and paraline drawings, among others. They are used to communicate precise measurements, materials and construction details to manufacturers, engineers or other professionals involved in the production or implementation of a design. They can be completed manually using technical drawing equipment but are nowadays more commonly produced using digital software (CAD programs).

Presentation drawings

Presentation drawings refer to visual representations created by designers to communicate and showcase their design concepts to clients, stakeholders or other audiences. These drawings can be manually or digitally created, and can take the form of rendered impressions of buildings, environments or objects, illustrations, documentation drawings, or storyboards. They are often a part of mock-ups, concept boards, or style guides that provide a comprehensive overview of a design project. Presentation drawings are used to effectively convey the intended look and feel of a design, as well as to highlight its key features and benefits. They are also useful in gaining approval and feedback from clients or stakeholders and can aid in making design decisions by providing a visual reference. The quality and accuracy of presentation drawings are crucial in ensuring that a design is effectively communicated and understood by its intended audience.

Collage

Collage is a technique which involves combining different elements, such as images, text and other materials, to create a new composition. There are several types of collage that are commonly used in Visual Communication Design, including:

Manual collage

This is a traditional form of collage where physical materials, such as paper, photographs or fabric, are cut, torn and layered to create a new composition.

Digital collage

This is a collage created using digital tools, such as image editing software (such as Adobe Photoshop). Digital collage can involve combining digital images, illustrations and other graphic elements to create a new composition.

Photomontage

This is a type of collage that focuses specifically on combining photographs to create a new composition. Photomontage can involve combining multiple photographs into a single image or layering different elements of photographs to create a new image.

Printing

Printing is the process of producing one or more copies of a design or image using a printing press or digital printer. Printing is an essential aspect of Visual Communication Design, as it enables designers to reproduce their work in large quantities and distribute it to a wider audience. The choice of printing method can affect the quality, cost and speed of production of the printed material. Different printing methods, such as offset printing, digital printing, screen printing, printmaking, laser-cutting and 3D printing, have different characteristics that make them suitable for specific printing projects. The printing process also involves selecting appropriate paper stock, ink colors, and finishing options, such as binding, embossing or laminating, to enhance the final printed product's visual appeal and functionality.

Offset printing

This is a high-quality printing technique that involves transferring ink from a plate to a rubber blanket and then onto the paper. Offset printing is commonly used for printing books, magazines, brochures and other high-volume printing projects.

Digital printing

This is a printing technique that involves printing digital files directly onto paper or other substrates. Digital printing is commonly used for printing short runs of business cards, postcards and other promotional materials.

Screen printing
This is a printing technique that involves using a mesh stencil to transfer ink onto paper or other substrates. Screen printing is commonly used for printing t-shirts and posters.

Intaglio printing

This is a technique in which an image is etched, cut or scratched into a flat surface, before the plate is covered in ink. The ink is wiped from the surface, remaining only in the grooves and then passed through a press to transfer ink to paper.

Relief printing

This is a technique used to print from a raised surface after areas have been cut away.

Laser-cutting

This is a technology that uses a high-powered laser beam to cut or engrave various materials, such as wood, acrylic, paper and metal. The laser beam is directed by a computer-controlled machine that follows a digital design or pattern. The laser creates precise and clean cuts with minimal waste. Laser cutting is commonly used in visual communication design to create intricate shapes, patterns and designs for various applications, such as signage, packaging and art installations, as well as a kit of parts that can be constructed into architectural models.

3D printing

This is a process of creating physical objects from digital designs using a 3D printer. The printer reads a computer-aided design (CAD) file and then lays down successive layers of material, such as plastic or metal, until the object is complete. This technology allows for the creation of complex forms and designs that would be difficult or impossible to make with traditional modelling methods.

Photography

Photography is the process of capturing and preserving images using a camera or other light-sensitive device. It involves using light to expose a film or digital sensor, which records the image in a fixed, permanent form. There are two main types of photography: analogue and digital.

Analogue photography

This uses a film camera that focuses light onto a roll of light-sensitive chemicals. The film is exposed to light and creates a negative image. The negative is then developed to produce a positive print on photographic paper. It requires skill to control the exposure, focus and composition of each shot.

Digital photography

This uses a digital sensor to capture and store images as digital files on memory cards. It allows for previewing and editing on a camera's display screen and easy storage and sharing on digital devices. However, different skills and techniques are needed to use digital cameras and image editing software.

Prototyping

Prototyping is the process of creating a preliminary version of a product or design, typically using low-fidelity materials, to test and evaluate its functionality, usability and user experience.

Prototyping can take many forms, including physical mock-ups, digital prototypes, or even sketches on paper. By creating prototypes, designers can test the usability of a product, identify potential problems or areas for improvement, and gather feedback from users. This iterative process allows designers to refine their designs and create more effective and user-friendly products. In addition to testing the functionality of a design, prototyping can also be used to test the aesthetics and visual appeal of a product. By creating physical or digital mock-ups, designers can visualise the look and feel of their designs and make adjustments as needed.

Model-making
Model-making is the process of creating a physical 3D representation of a design or object. It is a common practice in Visual Communication Design, as it allows designers to better understand and communicate their ideas to clients, stakeholders or team members. Model-making can be done using a variety of materials, such as paper, foam, wood or plastic, and can range in scale from small tabletop models to full-size structures.

Materials

Materials are the surfaces or substrates on or from which designs are made. Materials can include, but are not limited to: paper, card, wood, glass, metal, clay, plastic or textiles.

• Paper is a versatile material that can be used for a variety of applications in design, including flyers, posters, business cards and packaging. It can have a matte or gloss finish, and be smooth or textured.
• Card is a thicker, more durable form of paper that is commonly used for creating invitations, postcards and business cards. It can also be used to create architectural models and prototypes.
• Wood is often used in design to create a natural and organic look. It can be used for signage, products, packaging and environmental design.
• Glass can be used to create sleek and modern designs. It is often used in product packaging, as well as for displays, signage and architectural designs.
• Metal is a durable and versatile material that can be used for a variety of applications in design, such as creating signage, displays and packaging.
• Clay can be used to create sculptures, figurines and other three-dimensional art pieces. It can also be used in product design to create unique forms and textures.
• Plastic is a versatile material that can be used for a wide range of applications in design, from product packaging to furniture and products, and even signage.
• Textiles such as fabric and leather can be used to create soft and tactile designs, such as clothing, accessories and product packaging.

Media

Media are the manual and digital applications used to visually communicate ideas and information. Media can include, but are not limited to: pens, pencils, ink, paint, markers, raster-based applications and vector-based applications.

• Pens are a versatile tool used for drawing and writing, and come in various types such as ballpoint, gel and felt-tip. They can be used for sketching, outlining and adding details to illustrations or designs.
• Pencils are another popular drawing tool, often used for sketching, shading and creating rough outlines. They come in different grades of hardness, ranging from soft to hard, which affect the darkness and texture of the line.
• Ink is a liquid used for drawing and writing, and can be applied with a variety of tools such as pens, brushes, markers and printers. It can create bold, expressive lines and is often used for calligraphy, lettering and graphic design.
• Paint can be applied to a variety of surfaces and is available in many different types such as watercolor, acrylic and oil. It can be used to create colorful illustrations and designs, as well as more textured and expressive pieces.
• Markers are similar to pens but have a broader, more opaque tip. They are often used for filling in large areas of color or creating bold, graphic lines and are popular in illustration, graphic design and typography.
• Raster-based applications use a grid of pixels to create digital images, such as Adobe Photoshop. They are best for creating detailed images with complex color blends and shading.
• Vector-based applications use mathematical equations to create digital images, such as Adobe Illustrator. They are best for creating clean, precise designs with sharp lines and solid shapes, and can be scaled without losing quality.

Messages

Messages are communicated using visual language with various purposes such as influencing behaviour and expressing values in design projects like branding, advertising and packaging. They are central to the work of communication and graphic designers, web designers, illustrators, and those in advertising, animation or visual effects.

Drawings might include: sketches, storyboards, wireframes, diagrams, flowcharts, mind maps and illustrations.

Design solutions might include: logos, style guides, posters, packaging, billboards, brochures, illustrations, signage, maps, social media campaigns, websites, apps, videos, exhibition display, publication, book cover, advertising campaign, postcard, storyboard, concept board, animation, graphic novel, motion graphics, type treatments, publications, wayfinding, branding concepts, information design, icons.

Environments

Environments can be physical or virtual spaces where people spend their time, such as residential and commercial buildings, parks, and exhibition spaces. They take into account factors like accessibility, aesthetics, and emotional impact. Those who specialise in environmental design can be architects, interior designers, landscape architects, game designers and other professionals.

Drawings might include: ideation sketches, schematic diagrams, informal perspective sketches, floor plans and site plans, elevations, section views, landscape drawings such as planting schemes, paraline and perspective drawings, 3D render or artist’s impressions, paraline drawings, and perspective drawings.

Design solutionsmight include: concept / presentation board, 3D physical model, digital walkthrough.

Objects

Objects are designed to improve people's lives and upgrade existing designs. These objects include products, furniture, transportation, and other items, considering factors such as ergonomics, sustainability and accessibility. This field predominantly includes industrial, product, furniture, jewelry, textile and fashion designers.

Drawings might include: ideation sketches, informal perspective sketches, orthogonal, paraline, perspective, exploded view, technical flats, pattern, rendered drawings (manual or digital).

Design solutions might include: concept / presentation board, package, packaging net, prototype, digital model, model, garment, accessories, jewellery.

Interactive experiences

Interactive experiences refer to the ways in which people engage with a product, system or service in both physical and digital environments. They encompass the various touchpoints that users have with a design, including visual and interactive elements such as icons, symbols, images, type, sound and animation. The goal of interactive experiences is to create efficient, intuitive, satisfying and accessible interactions that meet the objectives of users. Interaction designers work as part of larger UX design teams who oversee all aspects of the customer journey.

Drawings might include: ideation sketches, wireframes, user journey map, site map, user flow diagram, mock-up.

Design solutions might include: prototype (website, app, ecommerce), simulation, concept / presentation board, static mock-up of screen layouts.

Factors of design refer to the various influences that impact the design process and the final outcome of a design. These factors can be diverse and include aspects such as economic, technological, cultural, environmental and social considerations that designers need to take into account when developing a design. By considering and addressing these factors, designers can create designs that are effective, functional, aesthetically pleasing and meaningful to their target audience.

Economic factors

These refer to the financial conditions that impact the design process and the final outcome of a design. They include factors such as the budget, market demand, production costs and pricing strategy.

Technological factors

These refer to the technological advancements and constraints that impact the design process and the final outcome of a design. They include factors such as the available software, hardware, tools and materials.

Cultural factors

These refer to the social norms, beliefs, values and traditions that impact the design process and the final outcome of a design. They include factors such as the cultural diversity of the audience, their language, aesthetics and customs.

Environmental factors

These refer to the physical and natural conditions that impact the design process and the final outcome of a design. They include factors such as the weather, geography and natural resources.

Social factors

These refer to the social and human interactions that impact the design process and the final outcome of a design. They include factors such as the demographics, behaviour and psychology of the audience, their social and ethical values, and their attitudes towards the design.

Manual freehand drawing

The role of drawing in the designer’s work continues to evolve as emerging technologies are integrated into all aspects of professional design practice. Skills in manual freehand drawing are highly valued for their capacity to develop, document and communicate ideas, particularly during the ideation stages of the design process. The ability to represent forms and their relationships, and to rapidly articulate design ideas through manual drawing is an important part of the designer’s work, often preceding the digital stages of development and ensuring concepts are driven by creativity rather than technology. Teachers should facilitate opportunities for students to experiment with manual drawing materials, media and methods appropriate for the project at hand, with explicit teaching of techniques used to render details and visualise forms in space.

Digital freehand drawing

Digital drawing plays an increasingly important role in a designer’s work, streamlining many aspects of the design process and expanding opportunities for innovation and collaboration. A VCE Visual Communication Design classroom should be equipped with selected digital drawing software and applications that is freely accessible so that students can explore how they are typically used across fields of design practice. Digital drawing projects might include the manipulation of type and creation of original patterns, renders or textures, illustrations or documentation drawings.

Teachers should offer a combination of explicit teaching in the use of digital tools, equipment and techniques, together with opportunities for students to evolve their own personal style through experimentation with technologies. Students should be discouraged from relying on ready-made design templates, vector graphics, and generic patterns and effects embedded in digital software and applications. 

It is also important to foster in students effective habits in digital file management, including naming, saving and storing files in appropriate formats, reducing file sizes and saving work-in-progress as evidence of development for authentication purposes.

Technical drawing

Technical drawing is a term generally used to describe representations of three-dimensional objects, constructions or environments produced using specialised equipment or instruments, and including technical specifications such as dimensions, symbols and scales. In VCE Visual Communication Design, drawings that incorporate technical specifications to aid production processes are referred to as documentation drawings, and these can be produced both manually and using digital applications. Students might also use ‘technical’ drawing equipment, processes or software to produce perspective, pictorial or orthogonal drawings used to explore or present design ideas.

Despite the changing nature of design practice and the use of technologies, manual technical drawing methods play an important role in classroom activities, scaffolding and differentiating learning while explicitly teaching spatial concepts such as angles, proportions, viewpoints and visual relationships. Students who have been exposed to the origins of drawing systems and can manually apply their rules will be armed with first-hand knowledge that assists in understanding digital processes and tools. Manual technical drawing, therefore, remains in this study as a strategy to scaffold learning, while supporting the need for flexible and inclusive teaching and learning opportunities.

In light of the central role of technology in contemporary design practice, technical drawings are generated in design studios using digital programs and applications. Therefore, it is important that students of VCE Visual Communication Design are exposed to digital processes used to construct technical drawings and apply conventions, exploring a range of digital programs or applications that are freely accessible to students.

Models and prototypes

In VCE Visual Communication Design, students produce models and prototypes at various stages of the design process to visualise, test, validate and communicate designs for objects, environments or experiences. Models are usually non-operational, representing form and function in ways that simulate actual products or places without working exactly as intended. Scale models, for example, depict a three-dimensional object or environment at a much larger or smaller size while remaining proportional to the original. Prototypes, however, might also integrate functional, interactive components that can be tested and evaluated, so that improvements can be made to the user experience.

Models and prototypes might be constructed during the early stages of design development using simple methods and inexpensive, readily available materials such as pencil and paper, masking tape and card. These low-fidelity versions play an important iterative role, enabling ideas to be evaluated and reimagined before investing time and resources into more resolved presentations. During later stages of the design process, high-fidelity models and prototypes that simulate actualised products or spaces might be produced, enabling decisions to be made about a design’s form and function, and capacity to look and work as intended.

In VCE Visual Communication Design, high-fidelity models and prototypes might be developed using specialist equipment or digital applications such as a laser cutter, 3D printer or wireframing software. Students might also produce computer-generated models using 3D modelling programs, applying realistic renders to simulations for the purposes of testing or presentation. However, it is not essential for students to access sophisticated technologies and tools, nor is an understanding of code required when designing digital interfaces and students should be provided with programs and tools that are freely accessible.