VISUAL COMMUNICATION DESIGN �AOS2: CULTRUAL OWNERSHIP AND DESIGN��

How do designers evolve culturally appropriate design practices?

Kimberly Engwicht

https://solidlines.agency/artists/kimberly-engwicht

“Apply culturally appropriate design practices and an understanding of the designer’s ethical and legal responsibilities when designing personal iconography”  

Area of Study 2 and 3 will be assessed together over two tasks. This slideshow and the accompanying questions will prepare you for the written component of the coursework (Short Answer Response)

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SHORT ANSWER RESPONSE

• Short Answer response combining Key Knowledge and skills from AOS2 and AOS3. Written SAC conditions. 15%

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DESIGN TASK

• Following the Design Process to create your own series of icons for use in an app to create your personal learning profile to help your teachers understand you and how you learn. 30%

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ASSESSMENT

AOS2 CULTURAL OWNERSHIP AND DESIGN

SHORT ANSWER RESPONSE

KEY KNOWLDGE

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AOS2 CULTURAL OWNERSHIP AND DESIGN

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• Describe the ethical and legal responsibilities impacting the work of the designer, such as issues of ownership and intellectual property (IP).
• Describe the ethical and legal responsibilities of the designer and how it impacts design practice.
• Describe protocols for the creation and commercial use of Indigenous knowledge in design, including representations of Aboriginal and Torres Strait Islander culture.
• Describe and analyse culturally appropriate design practices
• Analyse the work and practices of Aboriginal and Torres Strait Islander designers

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AOS3 DESIGNING INTERACTIVE EXPERIENCES

• the collaborative practices of designers working in the fields of user-experience and interaction design
• aesthetic considerations and conceptions of good design relevant to the design of interactive experiences
• the diverse needs of users when interacting with devices, systems and services

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AOS2 CULTURAL OWNERSHIP AND DESIGN

• Describe the ethical and legal responsibilities of the designer and how issues such as ownership and intellectual property impact design practice
• Describe and apply culturally appropriate design practices
• Analyse the work and practices of Aboriginal and Torres Strait Islander designers

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AOS3 DESIGNING INTERACTIVE EXPERIENCES

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• Use terminology aligned with culturally appropriate design practice.

SHORT ANSWER RESPONSE

KEY SKILLS

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CHANGING PERSPECTIVE

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Name a famous artist from history?

Name a famous invention?

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The answers we provide for these two questions can give us an insight into the dominant narrative of our society. The answer would change depending on your cultural background, education and geographic location. However, history has favoured a particular narrative.

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This Unit of works looks at the limitations of only having one perspective and takes the opportunity to broaden our perspective. Over the next few slides, I want you to keep a few questions in mind “Why not look at the achievements of other cultures?” and “where does my bias, if any, come from?”. By looking at other perspectives this does not diminish or demonise the achievements of the dominant narrative. However, by looking at other perspectives we will begin to question what effect the dominant narrative has had on depreciating and keeping small the voices of “the other”.

https://marcusleedesign.com.au/

• To bring awareness to the ways our society perpetuates the dominant narrative
• To bring awareness to the ‘Western Knowledge’ narrative
• To broaden your perspective of Australian Indigenous people including their history, achievements and the systemic bias that exist
• To increase awareness and pride in pass and present Indigenous designs and designers.
• To recognises the significant contribution of Australia’s First Peoples, the oldest living culture.
• Sharing knowledge and building understanding

THE BIGGER PICTURE

“…I must have gone back 300 years and am getting to listen to one of the most talented musicians of all time…”

ABORIGINAL AND TORRES STRAIT ISLANDER HISTORY �BUILDING UNDERSTANDING AND RESPECT��

INDIGENOUS AUSTRIALIAN HISTORY

BUILDING PRIDE, SHARING KNOWLEDGE

The oldest human remains, "Mungo Man" were found at Lake Mungo in New South Wales.

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• The remains of Mungo Man were discovered in 1974 by Dr. Jim Bowler, a geologist.
• Mungo Man is estimated to be around 42,000 years old.
• This discovery provided evidence of a complex and ancient culture. Mungo Man was buried with ceremonial rites, indicating sophisticated spiritual beliefs and social structures.

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These discoveries highlight the deep history and cultural sophistication of Indigenous Australians, extending back tens of thousands of years. We can all be proud of this fact.

INDIGENOUS AUSTRALIAN HISTORY

BUILDING PRIDE, SHARING KNOWLEDGE

INDIGENOUS AUSTRALIAN HISTORY

BUILDING PRIDE, SHARING KNOWLEDGE

Aboriginal and Torres Strait Islander Australia is made up of many different and distinct groups, each with their own culture, customs, language and laws. They are the world’s oldest surviving culture; cultures that continue to be expressed in dynamic and contemporary ways. This map was created in 1996 as part of the Encyclopaedia of Aboriginal Australia project and attempts to show language, social or nation groups based on published sources available up to 1994.

INDIGENOUS AUSTRALIAN HISTORY

Terra Nullius Doctrine:

• In 1788, Britain declared Australia "terra nullius," ignoring Indigenous land rights and dispossessing them of their lands.

Protection Acts:

• Laws like the Aboriginal Protection Act 1869 allowed government control over Indigenous peoples' lives, including removing children (Stolen Generations) and restricting movement and employment.

1967 Referendum:

• Australians voted to change the Constitution to count Indigenous people in the census and allow the government to make laws for them.

End of Assimilation Policies:

• Assimilation policies formally ended in the 1970s.

2008 Apology:

• Prime Minister Kevin Rudd apologized to the Stolen Generations in 2008, acknowledging the suffering caused by forced removals

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VISUAL REPRESENTATIONS AND POLICY

Media Representation:

• Movies and TV shows often show Aboriginal people as simple and close to nature, but not modern or complex.
• This creates a one-sided view and doesn't show the diversity of their cultures.

Education System:

• School textbooks and lessons might not fully cover the history and achievements of Aboriginal people.
• This often focuses more on colonial history, making Indigenous cultures seem less important or advanced.

Politics:

• Sometimes politicians make statements or policies that suggest Aboriginal people can't manage their own affairs.
• This implies they are less capable or need more control from others.

Cultural Appropriation:

• Non-Indigenous people or companies using Aboriginal symbols and art without proper understanding or consent.
• This can disrespect their culture and spread wrong ideas about Indigenous Australians

BIAS AND DISADVANTAGE

HOW MISCONCEPTION STILL EXSISTS?

SYSTEMS AND INSTITUTIONS

THE IMPACT OF THE DOMINANT NARRATIVE

Three Prime Ministers of Australia have been educated at The University of Sydney. Below is the main building of the University.

What does it look like to you?

A medieval castle?

From what country was this architecture most associated with?

England?

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This is not to say the University is racist, in fact it is to draw attention to how even architecture can exclude some and make others feel welcome. Imagine you have always gone to school in buildings like this, wearing a school uniform with blazer and tie. This location would feel familiar and although it may be dauting there would be a feeling of belonging. Now imagine you are not from this background; how might this impact your feelings of worthiness and connection and therefore success and access to the education provided?

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“…Systemic or Institutional racism describes forms of racism which are structured into political and social institutions. It occurs when organisations, institutions or governments discriminate, either deliberately or indirectly, against certain groups of people to limit their rights. This form of racism reflects the cultural assumptions of the dominant group, so that the practices of that group are seen as the norm to which other cultural practices should conform. It regularly and systematically advantages some ethnic and cultural groups and disadvantages and marginalises others…”

https://racismnoway.com.au/about-racism/understanding-racism/institutional-racism/

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Sophisticated Land Management:

• Aboriginal people used “cultural burning" to manage the land, promoting plant growth and preventing large bushfires.
• This method shows advanced ecological knowledge and sustainable practices long before modern conservation techniques.

Astronomy:

• Aboriginal and Torres Strait Islander peoples have rich astronomical knowledge, using the stars for navigation, calendars, and storytelling.
• For example, the Emu in the Sky constellation is an important cultural symbol and practical guide.

Art and Culture:

• Indigenous art is one of the oldest continuous art traditions in the world, with rock paintings and carvings dating back tens of thousands of years.
• Their art is not just decorative but conveys complex stories, laws, and knowledge.

Engineering and Innovation:

• The construction of fish traps, like the ones at Brewarrina, shows advanced engineering skills. These stone structures are some of the oldest human-made structures in the world, used for sustainable fishing.
• The invention of the boomerang is another example, showcasing their understanding of aerodynamics.

Medicine and Botany:

• Aboriginal people have extensive knowledge of native plants and their medicinal properties.
• They used this knowledge to treat various ailments and promote health, long before Western medicine arrived in Australia.

Navigational Skills:

• Torres Strait Islander peoples are renowned for their seafaring and navigational skills, using stars, currents, and winds to travel between islands and trade with other communities.

Sustainable Living:

• Indigenous Australians developed sustainable living practices that ensured the survival and prosperity of their communities for thousands of years.
• These practices included seasonal movement, resource sharing, and deep respect for the environment.

CHANGING THE NARRATIVE

BUILDING PRIDE AND ACKNOWLEDGING ACHIEVEMENT

“It is incumbent upon us to recognize the inconsistencies within the Western narrative surrounding indigenous peoples. By understanding the historical context and the profound impact history has had on indigenous communities, we can unravel the layers of misinformation and misrepresentation. Through acknowledging the significant achievements and profound sophistication of indigenous cultures, we honour their resilience and contributions to our shared global heritage. It is our responsibility to amplify their voices, validate their experiences, and work towards a more just and equitable future where indigenous perspectives are valued and respected.”

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CHANGING THE NARRATIVE

WHAT NOW AND WHY SHOULD WE LEARN ABOUT THIS?

CULTURALLY APPROPRIATE DESIGN PRACTICES �USING DESIGN PROTOCOLS��

What is Communication Design Practice?

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What is Cultural Appropriate Design Practice?

THE INTERNATIONAL INDIGENOUS DESIGN CHARTER

1) Indigenous led. Ensure Indigenous representation and Indigenous led projects.

2) Self-determined. Respect for the rights of Indigenous peoples to oversee representation of their culture in design practice.

3) Community specific. Ensure respect for the diversity of Aboriginal and Torres Strait Islander culture by following community specific cultural protocols.

4) Deep listening. Ensure respectful, culturally specific, personal engagement behaviours for effective communication and courteous interaction are practiced.

5) Impact of design. Always consider the reception and implications of all designs so that they are respectful to Indigenous culture.

6) Indigenous knowledge. Respectfully ask the client if there is an aspect to the project, in relation to any design brief, that may be improved with Indigenous knowledge.

7) Shared knowledge (collaboration, co-creation, procurement). Develop and

implement respectful methods for all levels of engagement and sharing of Indigenous

knowledge (collaboration, co-creation, procurement).

8) Legal and moral. Demonstrate respect and honour cultural ownership and intellectual

property rights, including moral rights, and obtain appropriate permissions where required.

9) Reconciliation Action Plan (RAP). Develop a RAP incorporating the AIDC:CD.

10) Charter implementation. Ensure the implementation of the AIDC:CD to safeguard

Indigenous design integrity.

QUESTIONS

1. Why do you think the International Indigenous Design Charter was created?
2. What is it a reaction to? What thoughts and opinions in society had to change to allow the Indigenous Design Charter to be created and implemented within the design industry?
3. What do you think would prevent designers from implementing the Design Charter?
4. How do you think a designer might go about implementing the 10 protocols of the Indigenous Design Charter? What would it look like in practice? Do you think the process would change for designers working in the different design fields (Messages, Environments, Objects, Interactive Experiences)

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The Curator

Alison PageWadi Wadi and Walbanga woman of the Yuin Nation

The Artists

Lucy Simpson

Warlimpirrnga Tjapaltjarri

Yukultji (Nolia) Napangati

Yalti Napangati

IN PRACTICE

IN PRACTICE

Indigenous led. and Self-determined. Designers seek out traditional knowledge holders from the communities in which they are working to lead design decisions in a meaningful way. Indigenous people are considered before, during and after the design process.

Community specific. Designers are aware of what Country they are working on and who are the knowledge holders for that community. Designers, even indigenous designers, are mindful that each separate Country has different knowledge holders. Not all elders may speak for all knowledge. This may be a multi-layered process.

Deep listening. Means meeting and sitting with representatives from community. It is valuing the voice of others.

Impact of design. Consider how design decisions will be interpreted and always looking to improve understanding and that indigenous values are considered (connection to land etc.)

Indigenous knowledge and Shared knowledge . Respecting and understanding that not all knowledge can be shared. Valuing the importance and significance of Indigenous Knowledge as a different perspective that can be used in association with the more dominant narrative. (Bush fire prevention and recovery)

Legal and moral. Demonstrate respect and honour cultural ownership and intellectual property rights, including moral rights, and obtain appropriate permissions where required. Asking for permission first and ensuring any permissions are adhered to correctly and completely.

Charter implementation. Create a personal list of protocols for one's own design practice, encourage and help others (designers and companies) to create and implement their own protocols for culturally appropriate practice.

APPLYING THE INTERNATIONAL INDIGENOUS DESIGN CHARTER

About Koorie Heritage Trust

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The KHT at Federation Square takes Koorie peoples, cultures and communities from the literal and figurative fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians. Our location at Federation Square is a recognition of our shared history and the importance of Koorie peoples as part of a broader 21st century community.

Our vision

To ensure the rich cultural heritage, history and knowledge systems of First Peoples are valued, celebrated and an active part of society.

Our purpose

To nurture, honour and celebrate the continuing cultures and Songlines of the First Peoples of south-eastern Australia.

Our motto “GNOKAN DANNA MURRA KOR-KI”

Our motto groups two Koorie languages (Gunditjmara and Yorta Yorta) and means “Give me your hand my friend”.

The clasped black and white hands in our logo represents Aboriginal and non-Aboriginal people joining in goodwill and cooperation. The logo represents the “bridging of the cultural gap” and reflects our belief that through education and promotion, we can raise awareness and appreciation of the cultural diversity of Victorian First Peoples, and work towards the broader goal of reconciliation for all Australians.

Our programs and services

We offer a range of programs and services including the only public collection in Victoria dedicated solely to Koorie art and culture comprising artefacts, pictures and photographs as well as a Oral History Program and a Reference Library; a Cultural Experiences Program that include guided walking tours and cultural competency training and programs; an annual exhibitions program with an emphasis on showcasing young and emerging Victorian Peoples art and artists.

ETHICAL AND LEGAL OBLIGATIONS�INTELLECTUAL PROPERTY��

INTELLECTUAL PROPERTY

• Intellectual Property IP is literally, ‘the property of your mind’ and refers to the creative production of an invention, brand, design or artistic creation. Intellectual property rights enables the designer to legally protect their design idea from copies and imitations.
• Copyright and moral rights are automatically applied to artistic (literature, artwork, music etc.) works in Australia.
• If working for a company (school, record label etc.) copyright ownership belongs to the company/design studio/client (depending on the contract between client and designer)
• Other areas of IP are not automatically recognized, and a product, design, idea or concept must be registered using the governments intellectual property organization, IP Australia. Designers must apply for a patent OR trademark and register their designs to be protected from others reproducing or copying their design. IP Australia takes care of four distinct types of intellectual property (COPYRIGHT, TRADEMARKS, DESIGNS and PATENTS)

COPYRIGHT AND TRADEMARK

The Difference Between Copyright and Trademark. While both offer intellectual property protection, they protect different types of things.

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Copyright is geared toward literary and artistic works.

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A trademark protects a company brand, such as its logo.

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A registered trademark ® has been approved and entered on the Trademark Register. Registration is proof of ownership. An unregistered trademark ™ may also be recognized through Common Law as the property of the owner, depending on the circumstances.

THE COPYRIGHT TIMELINE

Just because a work appears online does not mean that is is out of copyright. For artistic, literary, musical and dramatic work, the period of copyright protect runs from the time of creation until 70 years after the death of the creator. Films, sound recordings and broadcasts are protected for 70 years from the end of the year of the year in which the work was released. Once out of copyright, a work is considered to be ‘in the public domain’ and can be used freely.

COPYRIGHT INFRINGEMENT�

US Illustrator Von Glitschka maintains a highly visible profile online, his distinct work has been used at various times without his permission. He is protected under copyright law and can sue for copyright infringement. This means the distribution of his imagery must stop and he is entitled to damages as decided by a court of law if “substantial” loss can be established.

APPLYING FOR A PATENT�

Joy Mangano is an American inventor and entrepreneur known for inventions such as the self-wringing Miracle Mop. Jennifer Lawrence plays the inventor Joy Mangano in the 2026 movie “JOY”. The movie tells the story of Joy’s rags to riches story and the importance of a patent and paying royalties.

WAYS TO PROTECT YOURSELF

• Watermark
• Use royalty free and stock imagery
• Usage rights in google (public domain)
• Size of image – low resolution to protect for unauthorised reproduction
• Pay for artists works (imagery and type)

STYLE GUIDE�

A Style Guide or Manual is a set of instructions that outline how designers can use trademarked logos, brands or symbols. It outlines colours, size, typefaces that can be used and how. The Style Guide may also outline how the imagery of a business can be altered or in what context it can be used.

https://issuu.com/isabelsigaris8/docs/instagram_guidelines_v1b

• Indigenous cultural representations are not fully covered under conventional IP rights, which can lead to misappropriation and misuse of Indigenous cultural expressions.
• Indigenous Cultural and Intellectual Property (ICIP) encompasses traditional knowledge and cultural expressions. The copyright for using Indigenous Knowledge belongs to Indigenous people and their traditional knowledge holders.
• Consulting with Indigenous communities is crucial when dealing with ICIP to ensure respect for their cultural heritage and to prevent exploitation or misrepresentation of their cultural expressions.
• The Australian Government has taken steps to address the protection of First Nations traditional knowledge and cultural expressions through initiatives like the Indigenous Knowledge Forum and the Indigenous Advisory Committee.
• The lack of legal recognition for customary laws can lead to inadequate protection of Indigenous cultural intellectual property, resulting in cultural misappropriation and loss of control over traditional knowledge.

INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY

When creating your own designs, it is your responsibility to respect the rights of other designers/artist that you may look towards for inspiration. You must acknowledge where you found the type and imagery and who designed it. Graphic designers purchase the rights to use certain typefaces from type foundries. Each type license that they purchase will come with its own list of agreements such as how, where and for what purpose it can be used. Attribution – include source (name of work, author, owners name, URL of where the work was found, date of access or download.

Despite popular belief, it is not OK to change an existing creative work by 10% or 20% and claim that it is no longer protected by copyright. Misuse of copyright material is measured by the term ‘substantial’ usually decided on a case by case basis.

Work that may need to be sourced includes: Text, such as lyrics to a song, poetry or written information from a website Imagery such as logos, photos and screenshots from a computer game or social media. Designs, such as packaging 3D models and products.

What practices do you include in your process to protect yourself against copyright infringement?

• Attribution – include source of imagery/type/inspiration (name of work, author, owners name, URL of where the work was found, date of access or download) Pintrest is not the original source. Pintrest is a re-post of a image usually without permission. You must follow the link to the original source and if you can’t you can’t use it!
• The safest approach is to be inspired but don’t copy.

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ETHICAL OBLIGATIONS

QUESTIONS

1. What does intellectual property (IP) refer to, and why is it significant for creators?
2. How does copyright protect artistic works in Australia?
3. How do designers protect their own work from copyright infringement?
4. Can you list the four distinct types of intellectual property managed by IP Australia?
5. Identify and Explain two ethical obligations of designers.
6. What is Indigenous Cultural and Intellectual Property (ICIP), who does it protect and why is it important?

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ETHICAL AND LEGAL OBLIGATIONS�RELEVANT TO EACH DESIGN FIELD

OBJECTS

ENVIRONMENTS

MESSAGES

INTERACTIVE EXPERIENCES��

ETHICAL

Environmentally friendly materials and manufacturing processes, safety, durability/longevity (built to last not built to be replaced) of final product, safety of workers, ergonomic design, human centred design.

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LEGAL

Standards and regulations are used in the design of objects to provide an ethical and legal framework. There are set requirements/specifications that ensure products, services and systems are safe, reliable and consistent.

There are 3 kinds of standards: international, regional and national.

VCAA uses the national standards for technical drawing as set out by the Australian Standards body. The Australian Standards cover many industries including

Manufacturing and processing

Consumer products, services and safety

Regulations relating to design of objects include things such as safety, durability and choice of materials, sustainability etc. Documentation and evidence that all regulations have been addressed are an integral part of the design process.

ETHICAL AND LEGAL OBLIGATIONS

OBJECTS

ETHICAL AND LEGAL OBLIGATIONS

ENVIRONMENTS

Standards and regulations are used in Environmental Design. They are set requirements/specifications that ensure products, services and systems are safe, reliable and consistent. There are 3 kinds of standards: international, regional and national.

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VCAA uses the national standards for technical drawing as set out by the Australian Standards body. The Australian Standards cover many industries including

Building and construction

Public safety, administration and business management

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Regulations relate to environmental design and include things such as building codes and construction regulations. Consider issues such as safety, durability and choice of materials, building height, fire safety, energy efficiency, sustainability, privacy etc. Exterior, interior and landscape architects are required to address regulatory requirements in their response to design briefs. Documentation and evidence that all regulations have been addressed are an integral part of the design process

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ETHICAL AND LEGAL OBLIGATIONS

MESSAGES

ETHICAL

Designers are ethically responsible

• for using appropriate imagery
• environmentally friendly manufacturing processes/paper/ink – ethical choice of imagery (sexualised imagery/targeting children etc)
• Be aware that some audiences may be visually impaired
• Social and cultural sensitivities around what is appropriate. 
• Create messages that meet the needs of individuals regarding dignity and respect. Reflect age appropriate imagery 
• Have a responsibility to contribute positively to society 
• Need to be aware of stereotypes and cultural norms 
• Need to know/be aware of the target audiences economic status.  

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LEGAL

Copyright and Trademarks are the legal obligation of designers working the field of Messages. The Difference Between Copyright and Trademark. While both offer intellectual property protection, they protect different types of things. Copyright is geared toward literary and artistic works (Art, illustration, literature, music, film, broadcasts and computer programs). A trademark protect a company brand, such as its logo. A registered trademark ® has been approved and entered on the Trademark Register . Registration is proof of ownership. Designers need to apply for a trademark if creating designs for a company IP needs to be applied for. Typefaces and paying for type  

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ETHICAL AND LEGAL OBLIGATIONS

INTERACTIVE EXPERIENCES

ETHICAL

Designers are ethically responsible

• Using appropriate imagery (Reflect age appropriate imagery)
• Be aware that some audiences may be visually impaired
• Social and cultural sensitivities around what is appropriate. 
• Create messages that meet the needs of individuals regarding dignity and respect.
• Have a responsibility to contribute positively to society 
• Need to be aware of stereotypes and cultural norms 
• Need to know/be aware of the target audiences economic status.  

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LEGAL

Copyright and Trademarks are the legal obligation of designers working the field of Interactive Experiences as well as applying for patents for a new app/invention.

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PROFESSIONAL DESIGN PRACTICE�HOW DO DESIGNERS WORK��

A ‘factor’ is anything that influences a designer's process and decision making.

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Social and Cultural Factors – aware and sensitive to diverse cultures (selection of imagery and context of final presentations), providing space for prayer rooms in public designs, trends and fashions, cultural heritage and traditions, social norms and values, language and communication. Choice of imagery when targeting children, choice of font size for the visually impaired.

Technological – advancements in materials and manufacturing processes, changes in technology (AI), compatibility with other devices, user interface, technical specifications

Economic Factors – working to budgets, cost of materials and labour, consumer demand, economic stability and profitability

Ethical Factors – ensuring your work is original, attribution of original owner of any used imagery, type or text, selection of appropriate text and imagery, production of products (environmental/sustainable materials and working conditions, cradle to cradle manufacturing), confidentiality of client information,

Legal Factors – Copyright(applying for trademark and patent through the IP Australia office) Protecting your design from inappropriate unauthorised use (watermark, low resolution) Applying for building approval through local authorities, building safety and regulations as set by the national standards.

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FACTORS/INFLUENCES

DESIGN FIELD: OBJECTS

What does Object Design look like?

The design of products, furniture and textile design. Distinguishing characteristics of this field may include: manual and digital three-dimensional drawing methods (isometric and perspective) and two-dimensional drawing methods (third-angle orthogonal drawing/technical flats). Use of specific conventions including line styles and dimensioning. Designers working in this field require an in depth knowledge of materials and ergonomics.

What are ‘ergonomics’?

How the body interacts with products. It is the science that looks at the functions, limitations and needs of the human body in relation to product design. This can also be applied to user-interface design (Apps/Website/VR). Consider how products are molded to suit the human hand or how a chair is engineered to ensure it is safe and sturdy for people to sit on (use).

Terminology relevant to the field of Industrial

End User, Ergonomics, Plastic injection mold, manufacturing, Technical flats, Patents, Inventions, Exploded Isometric, function over form

DESIGN FIELD: OBJECTS

SPECIALISTS

conventions

• Orthogonal drawing conventions
• Dimensioning
• Scale
• Three-dimensional drawing conventions
• Line styles
• Symbols
• Labelling

OBJECTS

FACTORS THAT INFLUENCE DESIGN

In groups complete the table below. Look at the last few slides of this presentation to help fill in this information.

DESIGN FIELD: ENVIRONMENTS

What does Environmental Design look like?

The design of spaces both interior and exterior spaces. Environmental design can be anything that enhances our experience of space. Including landscape design, installations etc.

Terminology relevant to the field of Environmental Design

Soil samples, sun, Passive heating and cooling, solar considerations, building materials, land conveyor, environmentally friendly materials, Floor Plans, Elevations, Air flow, Biomorphic design (interprets the importance of nature) Architectural movements(Art Deco, Baroque, Bauhaus etc.) Interior Design Movements (minimalism, Scandinavian, Industrial etc.)

• Floor plans and elevations Dimensioning
• Layout of drawings
• Scale
• Labelling
• Symbols
• Line conventions (thicknesses and styles)
• Symbols and labelling conventions

Conventions - visual language

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SPECIALISTS

ENVIRONMENTS

FACTORS THAT INFLUENCE DESIGN

In groups complete the table below. Look at the last few slides of this presentation to help fill in this information.

DESIGN FIELD: MESSAGES

What does Message Design look like?

The design of anything that is 2 Dimensional

Terminology relevant to the field of Messages design

Colour systems (CMYK, RGB), resolution (300dpi) Paper weight (GSM), laser printing, inkjet printing, offset printing, typography, layout/compositional rules (Gutters, Grids, Rule of Thirds)

• Typographic conventions
• Grids and layouts
• Packaging nets (2D graphics)
• Printing conventions (gutters/CMYK/Resolution)
• File Formats
• Conventions for documentation drawings

Conventions - visual language

SPECIALISTS

MESSAGES

FACTORS THAT INFLUENCE DESIGN

In groups complete the table below. Look at the last few slides of this presentation to help fill in this information.

DESIGN FIELD: INTERACTIVE EXPERIENCES

What does Interactive Experience Design look like?

The design of websites, information kiosk, mobile phone or tablet app design, gigital/physical hubrid wayfinding system, virtual environment or game interface

Terminology relevant to the field of Interactive Experience design

Designer, Prototypes, useability, functionality, flow of structure, Colour systems (CMYK, RGB), resolution (300dpi) Paper weight (GSM), laser printing, inkjet printing, offset printing, typography, layout/compositional rules (Gutters, Grids, Rule of Thirds)

DESIGN FIELD: INTERACTIVE EXPERIENCES

• Typographic conventions
• Icons and imagery
• Grids and layouts
• Functionality and buttons (cause and effect)
• Flow of design (interaction
• File Formats (screens/ device platforms)
• Wireframe drawings
• Gestalt Principles of Visual Perception

Conventions - visual language

SPECIALISTS

INTERACTIVE EXPERIENCES

FACTORS THAT INFLUENCE DESIGN

In groups complete the table below.

ANALYSIS�EXAM STYLE QUESTIONS��

ANALYSIS OF PROFESSIONAL PRACTICE

EXAMPLES OF CONTEMPORARY INDIGENOUS ARTISTS AND DESIGNERS

Black Douglas

Gaawaa Miyay/Luch Simpson

Gilimba

Coolamon Creative

Balarinji

Ochre Dawn

Lore

Grace Lillian Lee

Bayila Creative

Marcus Lee Design

Nguluway Designing

Tjuart

OBJECTS ANALYSIS

OBJECTS ANALYSIS QUESTIONS

ENVIRONMENTS ANALYSIS

BUDJ BIM – TYRENDARRA IPA & RECREATION RESERVE

For over 6,500 years the Gunditjmara people operated an extensive aquaculture system along the Mt Eccles (Budj Bim) lava flow and wetlands near Portland South-West Victoria, Australia. Their settlements were permanent stone structures and included a sophisticated network of fishtraps which provided an abundant and year round supply of eels, fish and water plants. In 2019 Budj Bim Cultural Landscape was recognised by UNESCO as a World Heritage site.

Mono Design were part of the design team engaged by Gunditj Mirring Traditional Owners Aboriginal Corporation to develop tourism infrastructure and interpretation for these unique and sensitive sites. The project spans five separate sites: Tyrendarra Recreation Reserve, Tyrendarra IPA, Kurtonitj, Tae Rak (Lake Condah) and Budj Bim National Park

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https://www.budjbim.com.au/visit/cultural-sites/tyrendarra-ipa/

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https://premiersdesignawards.vic.gov.au/news/2023-victorian-premiers-design-award-of-the-year-budj-bim-cultural-landscape

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https://www.budjbim.com.au/about-us/infrastructure/

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ENVIRONMENTS ANALYSIS - QUESTIONS

https://good-design.org/projects/keeping-our-smallest-citizens-safe-with-new-fine-diversion-pathways/

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https://www.thinkplace.com.au/case-study/tackling-fine-debt-inequalities-in-regional-nsw/#:~:text=WDOs%20help%20people%20clear%20their,severe%20financial%20hardship%2C%20and%20houselessness.

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INTERACTIVE EXPERIENCES ANALYSIS

KEEPING OUR SMALLEST CITIZENS SAFE WITH NEW FINE DIVERSION PATHWAYS

Traffic accidents are the leading cause of death in children, correctly installing and using child car seat restraints ensure our smallest citizens are safe. Fines exist to encourage safe behaviours, but for people in hardship fines can compound their already difficult life circumstances. Revenue NSW and Future Friendly co-designed a car-restraint fine diversion that shifts focus from financial penalty to fixing the safety issue. They co-designed, prototyped and validated a new pathway that supports customers to get their child car restraint correctly fitted — in a way that avoids compounding inequality and ensures child safety. Through the service, customers are issued a diversion option to have the restraint correctly fitted and shown how to do this themselves. Once completed, their fine is cautioned and they no longer need to pay.

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INTERACTIVE EXPERIENCES ANALYSIS - QUESTIONS

MESSAGES ANALYSIS

MESSAGES ANALYSIS QUESTIONS