Design and Visual Communication webcasts

Kia ora and welcome. 

This webcast is intended to provide guidance and advice on aspects of the standard that has been identified during external moderation.

The webcast is intended to support assessors.

This webcast is intended to provide guidance and advice on the requirements for the Design and Visual Communication standard 92001, ‘Use representation techniques to visually communicate own product or spatial design outcome. ‘ 

Specifically, this webcast will explore the evidence requirement for students to achieve this standard. 

This slide is from the ‘Unpacking the standard’ document on the Ministry of Education NCEA website, particularly the intent of the standard. It describes the purpose of representation as a visual communication tool to communicate design ideas to others, summarised in the last sentence. Representation is about how the student can effectively communicate the purpose and benefits the design idea has for the people and context it was designed for.

To achieve the standard, students are required to show evidence of applying representation techniques to visually communicate the three-dimensional form, features, and materiality of their own product or spatial design outcome using (for example), hand-rendering via pencils, pens, and/or markers; physical models utilising materials such as card, foamboard and balsa wood; and rendered digital models and animations.

There must be evidence of utilising the appropriate drawing system/s techniques and views that best illustrate the form, purpose, use and features of the design. Drawings include the paraline drawing systems of isometric, oblique, planometric, and one-point and two-point perspective.

For rendered drawings, evidence is required of the application of tone, light and shade by using a light source. This is shown by the different tone values on the different surfaces of a three-dimensionally drawn form. Normally the light source is from above the form, and the surfaces of the form that are perpendicular to the light source are rendered in a light tone. The surfaces of the form that are at an angle to the light source and further away are subsequently darker.

Shadows and highlights are also a result of a light source and can be cast onto the surface that the design sits on and on the design itself.
Highlights are seen on edges perpendicular to the light source.

Evidence is required for materiality, this is communicated through the use of tone, local shadows and highlights to indicate texture such as timber, fabrics, and ceramics and reflective surfaces such as glass and metal. This can be shown through rendering techniques for drawings and digital models and the use of modelling materials for physical models. This slide illustrates woodgrain, transparency and metallic reflections.

For physical models, evidence is required of the understanding of how modelling materials can represent the actual materials. This could be seen in using clear plastic to represent glass, balsa to represent timber, corrugated card to represent roofing iron, and the use of paint and materials such as sawdust, sand, fabric, plastics and foam rubber to represent various textures.

When compiling evidence of physical models for assessment, the evidence must be photographic or digital. A high-resolution camera and strong directional lighting should be used to record images.

For more explanation and examples of what is required, see the DVC Moderator’s Report and exemplars on the NZQA website, and the Assessor Practice Tool on Pūtake, for annotated samples of student evidence that cover the assessment criteria of various standards.

Kia ora and welcome.

This webcast is part of a series intended to provide guidance and advice on the requirements for the Level 2 Design and Visual Communication standard 91340, ‘Use the characteristics of a design movement or era to inform own design ideas’. Specifically, this webcast focuses only on identifying the characteristics of a design movement or era. The other criteria of the standard are unpacked in separate webcasts.

The characteristics of a design movement or era are the elements and principles of design that are recognisable as representing the design movement or era.

The elements of design are drawn from the principles of aesthetics.

The elements of design are, for example, point, line, shape, form, colour, and texture.

Aesthetics are the set of principles concerned with the qualities of appearance, visual appeal, taste, and perceived beauty, including balance, contrast, emphasis, movement, proportion/scale, harmony, repetition, pattern, et cetera.

The achievement criteria require a description of the way the elements of design are used within the design movement or era. This involves identifying and recording the elements of design used in the chosen design movement or era.

These elements must be incorporated in the student’s design ideas, along with a description of the social factors that existed at that time and influenced the design movement or era (see the webcast on social factors).

The Merit criteria require an explanation of how the elements of design characterise the design movement or era. This involves going beyond describing what is seen and explaining ‘why’ the identified elements of design are recognisable or typical of the design movement or era. The explanation could include connecting the elements to the ideas, values, or purposes of the design movement or era.

The explanation must inform the student’s design ideas and link the identified characteristics of the design movement or era to the design ideas in a considered manner, along with a description of the social factors.  
The Excellence criteria require the identified characteristics of the design movement or era to be interpreted and embedded into the student’s own design ideas.

This involves selecting significant and relevant characteristics from the design movement and applying them purposefully and creatively in the student’s own work, along with a description of the social factors. When using research to support the description of the design characteristics, it is required to acknowledge the research sources. The following examples describe the design characteristics of each design movement.

Art Deco.

And Bauhaus.

For more explanation and examples of what is required for this aspect of the standard, see the exemplars on the NZQA website. There are also annotated samples of student evidence available on the Assessor Practice Tool for 91340. These clearly show the type of evidence required for the aspect discussed in this webcast.

Further assessor support for the internal achievement standards in Design and Visual Communication can be found in our assessor support catalogue available on the NZQA website. Thank you.

Kia ora and welcome.

This webcast is part of a series intended to provide guidance and advice on the requirements for the Level 2 Design and Visual Communication standard 91340, ‘Use the characteristics of a design movement or era to inform own design ideas’.

This webcast covers selecting an appropriate design movement or era as is required for the standard.

Evidence includes a description of the way elements of design are used within the design movement or era,

A description of the social factors that influenced the design movement or era.

Generating design ideas that incorporate the identified characteristics of a design movement or era.

Specifically, this webcast will explore the requirements for students when selecting a design movement or era. The other criteria of the standard are unpacked in separate webcasts.

A design movement or era is a period in history when a particular style, philosophy, or approach to design becomes widely influential. These movements shape how products and spatial designs look and function.

A design movement usually has:

• A distinctive visual style, for example zig-zag motifs in Art Deco or bold geometric forms in Bauhaus and Modernism.
• A shared philosophy or set of ideas, for example ‘less is more’ or celebrating handcrafted work.
• Historical and cultural influences, for example politics, social change caused by the impact of war, or post-war technology advances such as those that enabled the utility of George Russell and Buckminster Fuller.
• A group of designers who produce work aligned with the movement, for example the Memphis Design group headed by Ettore Sottsass.

The following are a range of possible design movements or eras that could be used to inform students’ own design ideas. There are other design movements – this list is not exhaustive.

Please note that Design and Visual Communication is focused on product and spatial design, and Graphic Design and Art movements are not appropriate for this standard.

This and the next slide include a descriptor of the design characteristics and significant designers as an exemplar.

• Art Noveau furniture and architecture
• Modernism
• Futurism
• Art Deco
• Bauhaus
• Streamlining
• Scandinavian Modern
• Minimalism
• Post Modern
• Memphis
• Deconstructivism

For more explanation and examples of what is required for this aspect of the standard, see the exemplars on the NZQA website. There are also annotated samples of student evidence available on the Assessor Practice Tool for 91340. These clearly show the type of evidence required for the aspect discussed in this webcast.

Further assessor support for the internal achievement standards in Design and Visual Communication can be found in our assessor support catalogue available on the NZQA website. Kia ora and thank you.