Visual arts - external exemplars level 3 2015 - design

Show: External Exemplars

The resources below contain examples of candidate work submitted in 2015 for assessment for the Visual Arts Achievement Standard 91455 Produce a systematic body of work that integrates conventions and regenerates ideas within design practice. The purpose of this resource is to assist art teachers prepare their teaching programmes and their students for assessment.


Explore Christchurch

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Panel 1 (JPG, 1.1MB) Panel 2 (JPG, 1MB) Panel 3 (JPG, 1.1MB)
Entire Folio (JPG, 3.1MB)

‘Explore’ is an example of a brief that engages with direct experience and circumstances. The candidate's intention is to work with the Christchurch City Council  to produce a campaign to make locals and visitors aware of the exciting developments happening in the central city post the Christchurch earthquake. A comprehensive list of design formats are executed (logo, poster, DPS, info graphic, postcards, pop up leaflets, installation) but it is the clever manipulation of conventions to impart message that is the true highlight of this exemplar.

The candidate confidently and purposefully explores a range of appropriate ‘architecturally informed’ logotypes – this notion of urban space, form, relationship and architecture is played out through visual metaphor from the get go. The regenerative process that the candidate adopts for every phase is well conceived – they produce options, then select and refine, then develop a final which incorporates underpinning ideas such as stepping, structure and form.

Posters utilise a variety of photographic, typographic and architectural drawing styles within a selected colour palette. Devices include scale, transparency, wire line text and angles to integrate topographical and constructional grid elements. The final outcome is confidently executed and communicates ideas of growing, building, movement, travelling within a developing urban landscape. This candidate has a command over conventions and is able to manipulate these formal devices to expand ideas. This is seen in the manipulation of type, which echoes the repetition of the linear wire backdrop in the photo of Christchurch and links back to the logotype.

On panel two a range of options are presented that synthesise design conventions and extend purposefully into new work. The candidate has an understanding of page layout and grid systems which integrate both photographic and text block (body copy) elements. Hierarchy of type is thoughtful and sympathetically considered. At the bottom of panel two the candidate provides us with a panoramic infographic display which reuses established ideas in a more structured yet dynamic way.

On panel three, the candidate starts with a series of postcards and a pop up leaflet to capture the attention of tourists and explore Christchurch’s identifiable features and locations.


(click icon images to see a large version)
Panel 1 (JPG, 1.1MB) Panel 2 (JPG, 1005KB) Panel 3 (JPG, 1016KB)
Entire Folio (JPG, 3.1MB)


Body + Co

Body + Co Studio is a good example of a candidate embedding themselves in a brief that they can relate to. This topic instantly creates opportunities to generate content as it links to site, to equipment, to photography, to culture, lifestyle and to slogans.

Right at the start of board one the candidate has documented and collated content and imagery to drive their ideas. There is a purposeful intention from the outset in terms of reduced colour palette and the power-house pop of yellow when contrasted with black and white. The translation from photography into black silhouette figures offers a set of icons that are utilised on board one. But it is the selection and exploitation of particular graphic strategies as seen in the poster ideas and developments that positions this folio as a good Merit submission. The graphic convention of placing light weighted text at an enlarged scale over full bleed images is capitalised in several of the formats explored. Alongside purposeful integration of conventions this performance starts to adopt interesting formats, the outside mural and the move into packaging design – to advance this option the candidate could have looked at a range of sites and explored alternative forms for the drink package.

The layout of the folio is confident and ordered which clearly leads the eye through a systematic design process. On board three the range of double page spreads presented show an accumulation of research and learning. The conventions employed here are complimented by an understanding of composition, typography, hierarchy and photography / text relationships.

The candidate has spent a lot of time investigating formal elements such as holding devices. They start with the circle, then move to a pointed rectangle, introduce a triangle then a hexagon which goes onto inform the shape of a drink package. The double page spread ends with the re-use of the triangle. The candidate appears to be searching for graphic icons and forms that can add a new link and layer of meaning. This is needed to give the brand its own attributes and also to enhance the core messages and brand category, fitness, health, action, and dynamic movement etc.

To advance this performance to an Excellence level a deeper set of ideas and coherent synthesis between and across ideas would be required. This performance signals the purposeful integration of formal conventions but needed to bring a focus back to ideas and synthesis to advance on the knowledge gained in the posters and double page spreads.




(click icon images to see a large version)
Panel 1 (JPG, 1.2MB) Panel 2 (JPG, 1.1MB) Panel 3 (JPG, 1.2MB)
Entire Folio (JPG, 3.4MB)

This brief titled ‘Twinkle’ offers an interesting starting point. The fusion of a fashion clothing label that specialises in sportswear gives this brief an attitude from the start. The candidate's intention to produce a range of collateral such as a logo, clothing tag, bag, poster, gift cards and website is stated.

The mood board at the top of board one reveals a narrow range of images and icons but none the less these images reveal the star icon and a twilight atmosphere that is quickly adopted.

The branding identity takes on a pop art style incorporating the logotype and star through a systematic look at styles and options. The candidate has considered positive and negative versions and a single colour option using the device of star rays to break up the letter forms. The final logo consist of a 3D letter form, combined with words, rays and photographic night sky. The clothing tag section again works systematically through a series of die cuts and shapes to frame the brand and a dense block of type.

On panel two, the candidate presents a large range of options for cloth tote bags. On a positive note previous designs have been revisited to identify which graphic works best - the device of lines and rays encompasses the new format. It is worth questioning whether this format offered enough of a new framework or proposition to demand new complexities so the candidate could rethink visual language or invent new ideas?

The poster introduces the running figure as a silhouette and is trialled with regard to scale and composition. The figure introduces action and movement which is enhanced by the use of diagonal dynamic lines. The final poster comprises a split image with the logotype twinkle upside-down, which is unexpected and quirky. It communicates the feeling of a journey; of coming and going.

Panel three starts by stripping the graphic back to line and text. Coherent links between phases of work are evident as the student investigates text and sections of the star shapes combined with line. Ideas are regenerated and resolved in the final gift card.

The website brings together previous ideas and retains the brand as a major focal point while introducing new content in the form of relevant photographs. The inclusion of photographic imagery is a good turning point albeit one that was too slow to be employed.  The contextualising of the final web page is commended.

 In the website we start to see the integration of conventions in the use of the star window and the three dimensional T. This exemplar needed to move through conventions and towards ideas more quickly. A more robust image bank and the introduction of new conventions and approaches to image making could have helped – the integration of conventions is to slow moving in some of the formats which lacks the purposefulness required to achieve at Merit.

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