NCEA Level 3 - Visual Arts 2012
Examples of Candidate Work – 90517 Design
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Excellence
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Excellence
The central proposition for this folio is the brand collateral for the “Rosebury”
concept store. Collateral consists of a logo, membership card, invitation to a couture
show, website, poster, promotional cards and designs. “Rosebury” brand values are
reinforced by two slogans “for girls who collect memories and not things”; “for
those who forgive and forget.”
Board one sets up the briefs look and feel with an image bank and montage
presenting an eclectic range of ideas and drawings. Initial logo concepts utlises this
resource to explore a range of ideas options which are then critically evaluated
before moving onto a regeneration phase. Type and image relationships are
integrated with a high degree of success, the final outcome is an edgy and confident
solution relevant to brand queue and the nature of the label.
The candidate clearly understands a range of 2D design conventions and we see
these combined and used fluently and dynamically;
• In the couture show invitation the logo is deconstructed and photographic
elements are employed which showcase a more sensitive and near monochromatic
palette.
• The webpages showcase a collection of hand-drawn images using a variety of grid
formats with clear understanding of navigational conventions. The masthead for
these is reworked into a highly plausible corporate proposition using an elegant
reversed out serif typeface.
• Poster ideas engage in a playful exploration of hand-drawn figures and text placed
in, around, and over photographs.
A key characteristic of this folio is the level of reinvention. The candidate manages
an expansive practice that is grounded in fundamental design language and craft.
The promotional cards intelligently regenerate and synthesise new elements such as
student generated photographs, different typefaces and textural effects. The
geometric faceted motif introduced in the initial image bank is deconstructed and
introduced in a more dynamic manner.
The folio finishes with illustrations of a concept store that continue to use drawing to
present highly plausible, lyrical exterior and interior settings. This submission shows
a very high level of student engagement throughout. The strength of this folio is in
its captivating and original drawings - ideas are presented with sensitivity, energy,
attitude and humour.
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Excellence
This folio promotes a NZ Film Festival in conjunction with a fund-raising event to rebuild
Christchurch. The candidate begins with a self-directed photo shoot using type, landscape
and popcorn to tease out potential territories and directions. A thorough investigation of
type, symbol and colour is generated to inform ideas for logo and brand. The exploration of
formal issues such as positive and negative form, shape and colour generate a range of
options and treatments that lead to a successful logo.
The range of ideas for poster design are commendable and the conventions employed are
deeply investigated and understood. Typographical concepts from earlier in the project are
re-explored and integrated with photographic images. Critical editorial decisions about
selection, colour, scale and hierarchy and placement of type are fluently and purposeful
explored. A creative angle and campaign feel emerges through the use of humour.
Typographical treatments move between 2D and 3D dimensions with invention and
purpose.
In the webpage designs the candidate confidently frames type using a variety of devices to
extend spatial ideas and body text is reversed in and out of coloured planes.
The candidate has immersed themselves in both subject and topic. Film, architecture and a
call to action campaign are conjointly managed as appropriate to the brief. This folio
demonstrates an excellent understanding of characteristics and constraints of established
PPMT. A high degree of synthesis is evident in both the use of formal conventions and
ideational (conceptual) development - panel 3 clearly builds and synthesises ideas from
panel 1 and 2 to create a series of tickets. The brochures overlay black and white
photographic images with floating translucent coloured shapes based on the logo, which
reintroduces the 2D/3D strategy, all demonstrating a high level of criticality.
The interactive flyer regenerates options in new and exciting ways, especially in the reintroduction of the small-scale figure, which engages the viewer in a playful and intelligent
manner.
Finally, to further promote the festival, two inventive and original formats have been
employed: a retro viewfinder and a series of zoetropes. These are extremely well crafted,
interactive and sophisticated.
NOTE: This folio requires careful and close reading including the zoetropes. There is no
way this folio would be able to be fairly assessed in a digital format.
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Merit
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Merit
The brief at the heart of this folio is to brand a game company called ‘MAPAC’. The
candidate begins by presenting a series of models and their own drawings, initially in
pencil, then moving more confidently and appropriately into black and white pen,
ending in a logotype that integrates image (robotic creatures) and text. The exploration
is investigative, authentic and purposeful. The original logotype is used as an integral
design element in places throughout the folio.
There is clarity of purpose in the trialling and application of format and compositional
options, for example the game card that incorporates colour, and plays with
compositional devices such as diagonals, cropping, positive and negative, and type as
image. The final solution uses flat strong colour, tonal and scale shifts and is shown in
context by way of a small photographic sequence.
In the development of the ticket the candidate demonstrates the ability to regenerate a
more sophisticated set of colour options and apply format conceptually i.e. concepts
for the ticket embed association such as landscape into the format.
For the poster the candidate reinvestigates the portrait format and a selected range of
subject matter (robots, buildings, and text) is revisited and re-contextualized in terms
of rotation, pattern, repetition and scale. The double page spread was an ambitious task
alongside so many other format applications; there are limitations in the investigation
of body text, pull quotes and readability. This point does not subtract from a folio that
demonstrates playful, appropriate and graphically strong solutions many of which are
also are photographed in situ to aid the design story.
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Merit
The central premise that this submission is promoting is an event called ‘Green Week’, a
weeklong program designed to raise environmental awareness.
From the outset of board one, the logo and brand concepts systematically explore type and
image relationships to clarify ideas to a successful solution. The candidate purposefully
tests a number of intelligent options for billboards including the generation of 3D options
and the idea of peeling back the green grass to expose the polluted cityscape. The
conventions of the Billboard are understood, a ‘call to action’ communication strategy uses
witty by-lines to accompany the imagery and the billboard in situ confirms context and
impact.
This folio is continually probing for new ideas using graphic image and language that is
‘on theme’ and a number of options for the information booklet covers are generated at the
start of board 2. The candidate selects the most effective idea of layering the halftone
pattern over the tree imagery introducing the metaphor for polluting the landscape. The
design process drives the quest for good ideas and visual language that delivers a message.
The website thumbnails clearly show knowledge and understanding of the conventions
associated with page navigation. Ideas are purposefully communicated using white type
reversed out of green and san serif fonts.
The sequence of poster options offer thoughtful responses to the brief, the interest in
positive and negative is explored further in the imagery and the final poster clarifies a
hierarchy of type to execute a strong diagonal composition.
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Achieved
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Achieved
This submission promotes tourism opportunities within Busan, South Korea. The candidate
takes ownership of the topic at the outset by taking their own photos and introducing icons
and motifs to fuel the start of ideas.
They set up a mood and feeling relevant to the subject through the confined selection of the
colour palette. Drawing is used to generate a number of logo options and there is evidence
of clarification and decision-making. For example the candidate adapts their approach to
layout, look and feel with some sensitivity to the collateral they are designing to and for.
This can be seen in the branding of the bus, which has been adapted and changed in
accordance to the format.
This folio has identified and used conventions from established practice to generate
pictorial options that integrate text and image. There is knowledge of text image hierarchy
and the candidate uses particular imagery to direct typographical layout. This manifests in
solutions, which convey a linear path through grid elements including cropping,
juxtaposition, flat colour and black and white photography.
This candidate explores pictorial and graphic options across a range of design collateral for
Busan and imagery has been printed to an appropriate size and the actual pop-up book can
be opened. This solution moves the design from 2D to 3D and showcases the drawing
strengths of this submission. There is a slight reliance on the artist model that suggests
sameness to the folio and solutions, however the visual communication is clear and
effective which re affirms the candidate’s engagement with design conventions and their
brief.
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Achieved
The brief for ‘Frostbite’ is essentially a call to action campaign and the single organising idea
is underpinned by the slogan “the mouth you don’t see”. In keeping with brand development
processes the candidate has generated an appropriate drawing study on board 1 and taken
ownership of imagery right at the outset of the project. A selection of typeface options and
treatments are explored with sensitivity to the design brief and subject. The imagery used to
develop the logo is systematically added to over the course of the folio and ideas are generated
and clarified.
Photography and drawing offer immediate ways for the candidate to get inside their theme and
generate options. Drawing is used as the central means to generate imagery through
photography and imagery in relationship to the theme. Research is used as a springboard and
on panel 2 this is evident on the poster design where ideas and imagery has been regenerated
beyond the original image bank on panel 1. The application of design for a variety of
conventional format is demonstrated, i.e., graphics applied to a bus work within the
constraints of a bus in situ. Although format appears to be predetermined for most of the folio
it is positive to see collateral that relates to subject i.e., a beanie.
The candidate only ever really explores one concept within each format investigation, which
slows the folio down. However they do generate a range of appropriate options that show
knowledge of characteristics and constraints of established design practice within that idea.
Each option applies a range on conventions such as shifts in scale, cropping to frame, framing,
hierarchy of type etc. as appropriate to print design.
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