NCEA Level 3 - Visual Arts Examples of Candidate Work Design

Transcription

1 NCEA Level 3 - Visual Arts 2012 Examples of Candidate Work Design 1

2 Excellence 2

3 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. 3

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8 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. 8

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13 Merit 13

14 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. 14

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19 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. 19

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25 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. 25

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30 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. 30

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