Solving communication design problems.
How can visual language communicate
audiences and shape behaviours?
Just Do…
What?
This task is from the Field of Messages.
Students examine how branding can be used to identify a business, as well as communicate ideas and influence the behaviours and attitudes of audiences. They examine how visual language is used in branding and for a range of purposes and in various contexts. They design a range of brand collateral in response to a given brief. Students develop and deliver their design concepts by sharing them in a design critique, then use constructive feedback to inform the refinement and delivery of design solutions.
outcome
What students need to do
ON COMPLETION OF THIS UNIT THE STUDENT SHOULD BE ABLE TO
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create visual language for a business or brand using the Develop and Deliver stages of the VCD design process.
(VCE VCD Study Design 2024 – 28 p. 23.)
Introduction
In the ever-evolving landscape of design, the influence of branding stands as an undeniable force shaping consumers’ perceptions and preferences. This section delves into the impact that effective branding wields, transcending mere visual aesthetics to become a potent catalyst for consumer connection and loyalty. Brands, like cultural beacons, guide the evolution of design trends and represent the values and narratives that resonate with audiences. As designers navigate the dynamic intersection of form and function, understanding the power of branding becomes paramount. From iconic logos that encapsulate a company's ethos to immersive brand experiences that captivate the senses, this Area of Study discusses the symbiotic relationship between Visual Language and branding, emphasising the pivotal role it plays in not only shaping individual projects but also in defining the collective symbology of our commercial landscape.
Logos
At the heart of a branding campaign is a logo. Whilst we all live in a landscape that is dominated by logos, my Apple computer, my TW Steel watch, my Mitsubishi car, my Samsung TV, my students’ Frank Green water bottles and the Kinder chocolates I love to eat, how many of us stop to think exactly how a logo can encode and communicate the values and ideals of a business or an organisation. The truth is they do it quite conceptually. To be clear, logos embody ideas with Visual Language and Visual Language communicates and evokes emotions with symbols, metaphors and other visual stimuli. During their history, three forms of logos have evolved. These are the word mark, the pictorial mark and the abstract or conceptual mark.
Word Mark
A word mark consists primarily of text. It may be the company's name or a brand, often stylised in a unique font or with custom lettering to create a distinctive visual identity. The Coca-Cola logo is a classic word mark. The distinctive, flowing script of the brand's name has become instantly recognisable worldwide.
Pictorial Mark
A pictorial mark is a logo that relies on a visual symbol or icon to represent a brand. It is a recognisable image that is associated with the company and can stand alone without the company name. Pictorial marks seldom resemble the products an organisation sells, rather, they are pictorial in that they resemble, in a literal way, the name of the company. Some well-known examples of pictorial marks that represent the name of the company with a picture are Penguin Books, Apple, Shell and Target.
Abstract Mark
Abstract marks use unique, non-representational shapes, symbols, or forms to convey a brand's identity. These marks often don't resemble anything specific but are designed to evoke a certain feeling or association. Abstract marks aim not to represent the name of the organisation, nor the goods it sells but its inner spirit. For example, the Nike Swoosh is a classic abstract mark. It's a simple, fluid design that has come to symbolise movement, speed, and athleticism. Other examples of abstract marks are Mastercard and Slack.
These three types of logos are not mutually exclusive, and many logos incorporate elements of more than one type. Additionally, the choice of logotype often depends on the brand's identity, target audience, and the message the company wants to convey.
Branding collateral
What is collateral? Branding collateral refers to ways the brand can be used. Collateral is considered in the design stage because a good brand is adaptable. Examples of collateral include; stationary, websites, cups, caps, cars, aprons and packaging.
How Apple and Nike have influenced people.
Designing a brand identity from scratch.
The brief and IP
Design has the power to shape user behaviours and transform interactions between individuals and products. Students will consider economic, technological, cultural, and social contexts, and how designers can create solutions that resonate with users and promote positive outcomes. Additionally, students will explore how design plays a crucial role in addressing environmental concerns, focusing on sustainability, and minimizing negative impacts. Understanding the influence of design on these various aspects is essential for creating meaningful and effective designs.
key knowledge
What we will learn about
key knowledge points for this outcome
- the role of the brief in developing and evaluating design solutions
- legal and ethical obligations of designers relating to copyright and intellectual property
(VCE VCD Study Design 2024-28, p. 23)
The brief
The design of visual identity usually begins with a Brief from a client. Students in VCD learn about the function of a brief and how to write one.
A branding brief is a bit different from the other kinds of creative briefs. A brief for branding or re-branding needs to focus more on the story behind the company, the mission, the core values and business goals. It needs to define how this company is different from all the others in their competitors’ space. Remember, if several different brands are supplying the same kinds of products, why do customers choose a particular brand? Brand equals psychology in the mind of the target audience or user, and that’s something that designers need to tap into.
A brief in VCD sets the direction for the designer. It defines components such as;
- the communication need
- the nature of the anticipated target audience or users
- the purpose
- the context
- constraints and expectations
- deliverables (known in VCD as presentation formats)
A branding brief documents a full suite of branding guidelines and collateral. Check out some examples of branding by agency North from New South Wales.
You would be surprised to see how far agencies go to define a corporation’s goals, values and sometimes, dreams. Don’t take my word for it, look at Honda’s ‘Book of Dreams’. You’ll know what I’m talking about.
branding package Example
Melbourne designer Louise Brough created a brand package for a bedding cover company that works in the online space. Consider how the designers uses Visual Language and brand collateral to create a cohesive collection that communicates a particular feeling about ‘Hey Duvet’.
DESIGN EVALUATION CRITERIA
LEGAL AND ETHICAL OBLIGATIONS OF DESIGNERS
Before we get started on designing, it’s a great time to jump back a bit and make sure we understand the rules around creating visual identities and using other’s creative work. When students create a visual identity for a brand they will be creating Intellectual Property (IP). But how many of us understand the rules around Copyright? Jump over to the page on IP and Copyright to find out what student designers need to know.
Jump to
Brief
IP & Copyright
task
Show I know ...
1.1 Research and analyse logos
Ensure you have read the section on the three kinds of logos, above. Do some research and collect at least nine different examples of logos. Collect three each of work marks, pictorial marks and abstract marks. Try to collect old and contemporary examples. Sort them and describe them, referring to how selected design elements and principles are used to encode and communicate ideas to different audiences.
You will need this research material for the assessment task.
1.2 Define values and goals
1.3 Understand a brief
1.4 Write a brief for a rebrand
Consider a soft-drink brand you know. Imagine this brand wants to reposition itself into a different kind of market. They may want to change the age group, gender, socio-economic or cultural target audience they appeal to. Follow these steps;
- Describe the company and its existing target audience market
- Describe a different target audience market that they want to appeal to
- Write a brief for the rebrand, paying particular attention to the mission values of the rebrand and the constraints and expectations that should be placed on the visual identity for the rebrand
1.5 Design criteria
1.6 IP and Copyright
Jump to
Design Process
Designing a logo would normally take a whole Design Process to complete. However, the assessment task for this Area of Study focuses only on the Develop and Deliver stages of the Design Process, by having students work from a given Brief. This saves them the time they would have spent figuring out a design problem in the Discover stage, and then researching the needs of their audience and writing a brief in the Define stage.
Students will use freehand sketching to visualise ideas in the Development stage. They will then use manual and digital methods to refine and resolve their design concepts and solutions in the Deliver stage.
key knowledge
What we will learn about
key knowledge points for this outcome
- methods used to generate, refine and resolve communication design solutions
- the role of divergent and convergent thinking in a design process
(VCE VCD Study Design 2024-28, p. 23)
Generating, refining and resolving communication design
A lovely page of ideas for a brand visualised in small drawings. How many different ideas can you count? Jesse Briffa.
Here you see Jess is developing and refining one design concept for the brand. Jesse Briffa.
A mock-up showing the resolved design solution for a branding presentation. Jesse Briffa.
The Double Diamond Design Process requires the use of two different kinds of design thinking. These are Divergent and Convergent thinking.
Divergent thinking means thinking outwards. It’s like how an explosion looks. Bits going everywhere! Ideas, ideas and more ideas exploding outwards until every possibility has been tried! No time for evaluation here. Students explore the use of Design Elements and Principles and methods, media and materials. There are routines and strategies to help with Divergent thinking. They can be found on the page linked below.
Convergent thinking means moving closer to a single point of resolution. This entails, evaluating ideas against Design Criteria drawn from the brief. Students refine and resolve the use of Visual Language including the Design Elements and Principles, methods, media and materials, symbols and conventions for designs in the fields of Messages. All the time, creating mock-ups and testing design concepts until the criteria in the Brief are fully met. There are also routines and strategies to help with Convergent thinking. They can be found on the page lined below.
Designing a logo example
Logo deep dive
task
Show I know ...
2.1 What? Where? When?
Students work in pairs or small groups. View the full Double Diamond Design Process model, draw it and annotate it with Divergent and Convergent thinking. Position the following activities in the correct places on your Design Process drawing.
- Presenting Design Solutions
- Writing a brief
- Surveying a target audience
- Selecting preferred ideas
- Resolving design concepts
- Defining a Design Problem
- Generating ideas
- Testing Ideas in a Design Critique
2.2 Methods and Media
View the video above. Watch how the designer’s work transitions from freehand sketching to digital-based media. Discuss and suggest reasons why each method and media are used at different stages of the Design Process.
Jump to
Visual language
To communicate ideas and information and influence audiences or users, one needs first to get their attention. Engagement is paramount. Without attention, information will be garbled and lost. Designers use the emotive power of Visual Language; colours, typography, other elements and principles of design, images, layout, symbols, methods and media to encode ideas and information in clear and concise ways. In this section, students will explore the heart of Visual Communication; and how designers influence people.
key knowledge
What we will learn about
key knowledge points for this outcome
- techniques for engaging and influencing audiences or users using visual language
- the features and functions of design elements and principles, including typographic conventions and Gestalt principles of visual perception
- manual and digital methods, media and materials used to develop and produce communication design solutions
(VCE VCD Study Design 2024-28, p. 23)
Shape form colour contrast
Hazel Baird Design Director, Elastic
“It was all going to be about chaos, going against the grain, and office politics, human behaviors. When Angus mentioned circles—I'm a huge fan of Saul Bass and a huge fan of Paul Rand, so my mind went to that style, and I knew we could do something really cool graphically with those elements. I have a degree in graphic design, so I'm really into that kind of thing, and composition, and the way things look in color. It happened really quickly. I think I did it in a day.”
Hazel Baird interviewed in Muse By Clio, Tim Nudd, 24 August, 202o. (Accessed 24 September, 2023).
The opening credits from streaming TV series 'Morning Wars', 2019. Apple TV+.
How to engage and influence audiences using visual language
This section will explore the ways Visual Language can be used to engage and influence audiences or users. Given that designs can communicate ideas, information and concepts and evoke emotions and responses in audiences or users – all with Visual Language, how do designers do it? How do they engage and influence?
Visual Language is a multi-layered mode of communication. Visual Language contains many elements and devices that enable designers to encode messages. The components of Visual Language include;
- The Elements of Design
- The Principles of Design including the Gestalt Principles of Visual Perception
- Methods, media and materials
- Pictorial and symbolic components
- Type and typographic conventions
- Other conventions for combining and presenting components of Visual Language
For further information on Visual Language click here.
Forever at Home. Louise Brough.
"Mexican brand Forever At Home make furniture so good you’ll start cancelling on friends and never leave the house. They wanted
to refresh their brand to show that they are bright, fun, playful and clever. As their furniture is a with a modern take on a retro feel we did the same with the branding so we did a complete brand overhaul.
They create customisable furniture for their customers and we wanted to give them a brand which they could customise and create exactly what they wanted we did this by bringing in pattern and fun, custom characters to bring personality, who can interact with the photographs of the chairs. We gave them a shiny new logo, updated their website and social, all new collateral and even designed the shop front & interior for their new store in Roma Norte, Mexico City."
“Louise's rebrand has helped us attract a whole new audience, both to our physical and online store. She created an identity unique to us which reflects our values and our personality, and we absolutely love it.
It was such an enjoyable, collaborative process! Louise really listened and understood our goals and she helped us become a more memorable brand. I can definitely recommend working with Louise.”
This text is taken from the Forever at Home, project page. (Accessed 12 December, 2023).
Visual language in action
How do you create playful? How do designers draw audiences in? How can furniture be made to look fun and friendly? Explore Brough’s light, funny and playful use of line, shape, colour, contrast, figure-ground, balance, proportion, type and images evoking enjoyment. This is pure visual language. And it works.
Gestalt Principles of Visual Perception
The Gestalt Principles of Visual Perception involve the psychology of perception (the process of seeing and understanding what one sees). Perception is aided with heuristics, mental shortcuts, that can be used to reduce cognitive load. Grouping objects, along with making generalisations speed up the process of perception. I don’t see trees, I see a forest. Watch these two videos explain Gestalt Principles of Visual Perception. Then explore each subsequent video on each Gestalt Principle of Visual Perception. Head to the page on these amazing helpful principles of design.
Watch the two videos below for an introduction to Gestalt Principles of Visual Perception.
Imperfect Perception: Illusions, Gestalt Principles of Grouping, and Language Relativism
The Gestalt Principles for User Interface Design
Proximity
Continuity
Similarity
Closure
Common Fate
Figure-Ground
Focal point
Methods media and materials
Before we get started on designing, it’s a great time to jump back a bit and make sure we understand the rules around creating visual identities and using other’s creative work. When students create a visual identity for a brand they will be creating Intellectual Property (IP). But how many of us understand the rules around Copyright? Jump over to the page on IP and Copyright to find out what student designers need to know.
Students will use a variety of methods, media and materials for the development of ideas for this branding solution. These components are expressive elements depending on the aesthetic qualities that are embedded into their shapes and forms.
The vector-based digital media application, Adobe Illustrator ® is essential for developing fully scalable logos used for branding.
Jump to
Design Elements
Gestalt Principles
Visual Language
task
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3.1 What is visual language?
3.2 How can visual communications influence audiences or users?
View the video above. Choose one logo and explain how it uses two symbols or metaphors (something that represents something else) to influence audiences. In this context, to influence is to ask audience members to think something. What is it we want them to think about the brand and how has the designer evoked that thought?
3.3 Identify Design Elements and Principles
Create an A3 page titled ‘Design Elements and Principles’. Collect as few logos as you can to be able to identify all 18 Design Elements and Principles. (Don’t forget there are two Balances and two Patterns!). Identify them in annotations.
3.4 Identify typographic conventions
3.5 Identify Gestalt Principles of Visual Perception
Create an A3 page titled ‘Gestalt Principles of Visual Perception. Collect as few examples of Interactive Experience design (website, phone screen, phone app, etc.) as you can to be able to identify all the Gestalt Principles of Visual Perception. Identify them in annotations.
3.6 Explain Gestalt Principles of Visual Perception
Choose one of the Gestalt Principles of Visual Perception you identified in Task 2.5. Explain how it functions to improve a user’s experience of the Interactive Experience.
3.7 Identify methods and media
Imagine you have been asked to design a logo or icon to be used for a new social media communication app. The target audience is primary school kids under 13, gender inclusive, and the values of the company are to provide a warm, safe and secure environment for online communication.
Choose any three media from this list;
- paint
- coloured pencils
- coloured paper
- textas
- crayons
Visualise three possible ideas for the logo. In each design idea emphasise one of the three values, warm, safe and secure separately.
Jump to
Critique and Evaluation
Presenting a student’s design ideas and concepts to peers in a design critique is a collaborative way for students to receive constructive feedback. Hearing from people with different perspectives is an efficient form of Convergent thinking. Students are allowed to both justify their ideas and articulate their decision-making process and receive information about the effectiveness of their design concepts.
key knowledge
What we will learn about
key knowledge points for this outcome
- techniques to present and critique design ideas
- techniques to deliver and respond to constructive feedback
- the extent to which resolved design solutions meet the requirements of the brief
- appropriate design terminology.
(VCE VCD Study Design 2024-28, p. 23)
Critique
A Design Critique is a collaborative technique for evaluating design ideas and concepts. However, it needs rules and formats to ensure it delivers constructive feedback for the presenters. Students can find an outline of how to prepare for and present a critique here.
Before the critique, students can create a form that can be used to survey fellow students during and after a design critique. It is important to record feedback so students can revisit it and modify their design concepts accordingly.
Design solutions meet the requirements of the brief
task
Show I know ...
4.1 Design critique
Read the section on the Design Critique above and the page linked. Discuss the benefits of participating in a Design Critique
4.2 Design criteria
Consider Branding design. Write five design evaluation criteria that you think should apply to all logos. Discuss your answers in class. Would the five design criteria apply to all logos in all contexts?