Qualifications and standards

Scholarship design exemplars - 2016

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Outstanding Scholarship

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Sample Workbook pages

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This submission utilised an inventive brief from the outset; an educational campaign branded "Digital Detox” promoting a day of no technology by 'pulling the plug on technology for 24hrs'. Its overarching aim was to remind us what it means to get out, relax and detox. A key strength is that it operates as a call-to-action campaign; drawing on the idea of obsession, addiction and the notion that you ‘become' your addiction.

We are educated into the idea of engaging with Detox day through a series of hooks to grab audience attention. Humour is immediately identified as a powerful tool and strategically employed to cleverly draw us into the campaign (they lead with a discussion of humour in design in the workbook). A set of visual devices are intelligently developed that extract us (the public) out of our phones. In this way, the campaign has a wide-scoping audience, demonstrating this is an authentic enquiry and feels like it has real world potential. 

The candidate makes use of technological modalities to invent copyrighting by adopting social media communication styles, such as text language and messaging. They turn the very thing the campaign is critiquing back on itself through humour and clever language interplay, e.g. “Hey you”, “Let’s not be socially awkward today”, which are also incorporated into notebook excerpts (book pages) that additionally offer other information (notational text) into the evolution of homo sapiens. 

A wide array of conceptual opportunities; from copyrighting to formats, t-shirts and packaging (gift pack) are employed. New ideas are generated at every turn through inventive sub-briefs, such as the playful digital detox gift pack. There is a strong sensitivity and awareness that comes through in the way that various elements overlap formally and conceptually, such as the cord becoming the ‘O’ in detox. Critical restraint is shown in the choice of colour and surface (materiality) with reference to handmade versus found as well as different printed artefacts: the diaristic book, double-page spread, t-shirt and the poster that incorporates the packing cardboard as image.

The candidate effectively employs representational drawing to capture scenarios, objects and narrative, reinterpreting these through a digital vector mode. The enquiry is then re-set into a more complex communication objective to make evident the emotive and dramatic aspects of the addiction and our reliance on the digital, i.e. they suggest that digital devices have become an appendage. This is demonstrated in the treatment of the figure through digital illustration. They have clearly understood this treatment (as an extension of ourselves) and synthesis it further through metaphor, e.g. where the phone becomes a pool that you ‘dive into' in the billboard design.

The idea of a digital free day is represented through analogue visuals, e.g. the screen that peels back like a notebook or set of stickies. This is also seen in workbook explorations where the power cord itself is used to create a new typeface (not included on the folio), which reveals an expanded experimental approach and testing of potential ideas. The candidate is consistently working with discoveries made in process and is responsive to the accidental or the unexpected, intelligently turning these into strategies. This shows a strong level of ownership and reflective analysis, which is well-supported in the workbook.



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

Panel 1 (JPG, 1.3MB)

Panel 2 (JPG, 1.3MB)

Panel 3 (JPG, 1.2MB)

Entire Folio (JPG, 3.7MB)

Sample Workbook pages

Sample page 1 (JPG, 4MB)

Sample page 2 (JPG, 3.9MB)

Sample page 3 (JPG, 3.7MB)

Sample page 4 (JPG, 4MB)

Sample page 5 (JPG, 4.6MB)

Sample page 6 (JPG, 4.2MB)

Sample page 7 (JPG, 4.3MB)

Sample page 8 (JPG, 4.3MB)

This submission is based on a new clothing brand, “Trove” designed for New Zealand and international markets with a focus on organic natural materials targeting a younger audience.

The initial investigation into logo conventions such as hierarchy, symbol, negative space, framing, scale, typeface, motif and texture is thoroughly explored and includes a sub mark to be applied in different branding contexts. Swing tags regenerate the logo investigation demonstrating a thorough understanding of its purpose in context. Wood grain is employed as a tactile layer and is attached as a swing tag to a garment, making links to the conceptual framework. Again, the circle cut-out references early logo explorations.

A limited colour palette with clean lines, shapes and negative space is utilised from the outset setting up coherency and direction. The candidate usefully investigates a range of drawing approaches and media including linear drawing, printmaking processes and photography. The incorporation of printmaking process is an authentic and appropriate visual choice – it reinforces the handmade, autographic mark making and the natural focus of the brands identity.

The poster investigation develops a series of new options such as transparency, pattern, outline, and drop shadow and explores a range of colour alternatives refining the duotone and handmade aesthetic. Resolution is evident where outcomes are stripped back and conventions are refined through the application of cropping, lock up of type with image, control of negative space, and sensitive relationship of masthead to image. The tree trunk frottage print takes on new meaning through cropping and becomes ambiguous evoking mapping, cell structure or skin.

The double page spreads show a clear understanding and control of conventions; placement of body copy, grid structure, floating frame to create a pop out, scale and columns, drop cap, flush right captions and juxtaposition of flat colour against the photographic. The role of the pinecone photograph implying growth and organic form. There is constant evaluation of critical moves made and selection of final outcomes, which are convincingly placed in-situ. This reinforces an authority in the decision making, i.e. the website is believable.

The workbook presents a thorough documentation of the processes and materials applied, e.g. the cutting, sanding, burning and printing of selected tree trunks to create drawings and image. The workbook systematically evaluates the entire design process, outlining rationale and demonstrating critical perspective. The strength of this Scholarship submission is its cohesive branding aesthetic and the clear communication of its intention.

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