Scholarship design exemplars - 2012

Show: All Scholarship resources

Download: low resolution document (PDF, 16MB)  |  presentation format (PPT, 14MB)  |  high resolution images (ZIP, 25MB)  (ZIP, 25MB)

Outstanding Scholarship

(click icon images to see a large version in a new window)

Panel 1 (JPG, 323KB)

Panel 2 (JPG, 382KB)

Panel 3 (JPG, 263KB)

Entire Folio (JPG, 914KB)

Sample Workbook pages

Sample page 1 (JPG, 1.5MB)

Sample page 2 (JPG, 1.4MB)

Sample page 3 (JPG, 1.6MB)

Sample page 4 (JPG, 1.4MB)

Sample page 5 (JPG, 1.5MB)

Sample page 6 (JPG, 1.5MB)

Sample page 7 (JPG, 1.5MB)

Sample page 8 (JPG, 1.4MB)

This Oustanding Scholarship Design submission presents an extensive and consistently lateral  investigation. It begins with an in-depth analysis of the brief, focusing on the brand (UNLUCK), demographic, aesthetics, style (Indie design specifically), fashion advertising and promotion, followed by an appropriately self-directed photo shoot that operates well within the context of fashion photography.

This analysis sets in motion the methodology and content for various design outputs that follow.. Throughout the folio this candidate develops conceptual-pictorial language that explores ideas about pattern, colour and repetition within both two and three-dimensional modes.  This is reinforced by strong contextual research and an evident awareness of diverse contemporary design practices and approaches (e.g. illustration, vector, photography, photo manipulation and installation). The candidate claims allegiance to known brands such as I love ugly, linking their own work to existing practice.

Every design decision is underpinned by analysis of its relative merits, its relationship to design intention, and the communication of concept.  For example, with the selection of the Helvetica font, the candidate talks about the importance of a font choice allowing the words speak for themselves.  There is clarity in terms of the use of positive and negative space.  The word ‘unluck’ , uncommon in everyday language, thereby needing all the more to be clearly legible. This depth of consideration guides this candidate’s enquiry. The candidate’s design solutions are seen to be appropriate to the attitude of the brand Unluck. In each design phase, we see a visual assertiveness that “enacts” the Unluck character.  The candidate constantly pivots between 2D and 3D modes of practice, allowing for convincing and innovative solutions.  Physical or digital installation mores of spatial arrangement are well executed.  They provide lateral ways of seeing and conceptualizing everyday experience. Clever but simple devices are evidenced and applied throughout.  The candidate’s workbook documents thinking and idea development with great thoroughness and academic rigour.  The analysis of historical and contemporary precedents is extensive and thoroughly referenced, understood and creatively integrated.

The candidate is not afraid to reassess and reinvent directions.  Lateral approaches are employed, and leftovers from previous explorations are reconstituted in interesting ways such as the lost post-its from an installation development scrunched up into a ball for the front image of the website. This is just one example of invention being used to advance and expand upon previous investigations.


(click icon images to see a large version in a new window)

Panel 1 (JPG, 387KB)

Panel 2 (JPG, 430KB)

Panel 3 (JPG, 386KB)

Entire Folio (JPG, 1.1MB)

Sample page 1 (JPG, 1.4MB)

Sample page 2 (JPG, 1.2MB)

Sample page 3 (JPG, 1.1MB)

Sample page 4 (JPG, 1.1MB)

Sample page 5 (JPG, 1.2MB)

Sample page 6 (JPG, 1.2MB)

Sample page 7 (JPG, 1018KB)

Sample page 8 (JPG, 1.2MB)

This Scholarship Design submission presents a graphically strong exploration of promotional solutions and formats for FORM FOCUS, a company responsible for bringing art into Christchurch, with the aim of creating a positive, brighter, more colourful city.

From the outset the candidate creates an image bank appropriate to the brand.  A range of appropriate colours are presented.  These are clean, clear, warm, easily seen, and aesthetically interesting.  This approach is reinforced by the candidate’s creation of metaphorical links, such as the icon of the paintbrush which transforms into buildings and sky-scapes in different ways, thereby operating as a vehicle to produce new graphic options.

The candidate takes ownership of a number of devices and visual codes early on and then explores them in inventive ways to advance a series of ideas.  Consider for example the use of mid-tones, primary colours and black and white, geometric shapes and line, positive negative space, and the use and translation of elements as in models, mapping, geography, pattern and motif. Pattern and motif are seen to be interchangeable. This strategy draws the eye into the pictorial space of the image (map, poster, web site), while he use of mid-tones contributes an uplifting aspect, whereby the viewer is able to engage with (and see) the information easily in a manner that is both striking and quiet.

The subtlety of the aesthetic indicates a sophisticated understanding of media message relationships. Colour is used for its tonal value and as motif. There is an interplay between the generation of motif and subsequent developments into new motifs. Device driven tactics inform the message in clever and original ways including use of stencil, ribbon (folding out), weight (floating versus grounded), flat colour (2D), illusion (3D), grid, line and positive/negative space.

The workbook provides explanatory notes outlining key decisions with particular focus on the formal methodological direction of the investigation. Appropriate reference is made to existent design practice with keys aspects drawn upon, documented and analysed. This is a well-paced and visually fluent submission that consistently reinvents motif into form; form into motif (between the two key subject matter, art and city) through playful experimental design process.  This is a well-paced and visually fluent submission.  The candidate consistently reinvents motif into form; form into motif between the two key subjects - art and city, using a playfully experimental design process.

Skip to main page content Accessibility page with list of access keys Home Page Site Map Contact Us