Design Skills: Teacher's Notes

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Teachers notes
Design skills
Get students to learn a few basic presentation methods that they can master and use to give their coursework a professional-looking nish simple paper mounting techniques, thick and thin line technique, rendering methods, etc. Make use of CAD packages at an early stage in the GCSE course preferably at KS3. If possible, and if your licence agreement allows it, give students a copy of an appropriate package to take home and practise with. Use 10-minute starter exercises based around drawing a good method is to provide students with a small wipeclean whiteboard and marker pen. They can all do things like speed sketching or show understanding of a more formal drawing and have fun showing the results.
The aim of this section is to provide students with a variety of tasks and information, which will help them to develop their design skills. Designing is a key element of the Graphic Products course and, although the skills learnt here are important in their own right, it is a good idea to integrate them within a more project-based focus, thereby giving each skill the relevance of a context for students. The design skills section incorporates a variety of worksheets and information sheets relating to the student book. Most worksheets can be used as homework tasks, as each contains a focused practical task which should take no more than an hour to complete. Some of the worksheets will need teacher input to help students with the tasks. A basic level of skill from students KS3 experience is expected in order to complete the tasks successfully. Despite the widespread use of computer technology in modern design, all good designers will be able to communicate their ideas using a range of drawing media. Being able to draw by hand has many advantages and students should be encouraged to practise the skills and methods illustrated in the student book and on the worksheets.
Student book chapter 2.1 2D and 3D sketching

Worksheets Worksheets 57 are designed to enable students to practise their drawing skills. There is a natural progression between the worksheets, with students encouraged to apply their improving drawing and sketching skills to design situations. Remember to highlight the key elements of successful coursework during these activities, because it is through practice that these important skills are developed.
What you need to know
General hints and tips for teaching drawing skills

Give students plenty of opportunity to practise these skills. A good method is to provide students with a form of sketchbook that could include basic information and exercises for them to use. Have lots of visual examples of work and mood boards around the room. Interactive whiteboards are great for demonstrating the sequence involved in doing a type of drawing, for example, the stages in producing a 3D sketch using crates. Encourage students to acquire a basic set of graphic media, pencils, colouring media, etc. If this is a problem for students, keep individual student sets in polythene bags for them to use. Use coloured paper. Buff coloured paper, for instance, is easier on the eye than white paper and helps students with dyslexia to see shapes more easily, as well as being easier for all students to use. Encourage students not to worry about making mistakes, especially when sketching freehand. A good way of doing this is to get them to sketch using a ne liner pen or biro, as this prevents them from being able to rub out errors. Also, ban students from using rulers when sketching.
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Student book chapters 2.2 and 2.3 Enhancement techniques: Rendering and Textures
The aim of these two chapters and the accompanying worksheets is to improve students rendering skills, allowing them to practise blending and fading colours as well as representing the effects of light and shade. Give students the opportunity to compare hand-produced rendering with computer-generated effects. Such a comparison should lead to valuable learning opportunities discuss with students the differences between the two methods and the advantages and disadvantages of each. Worksheets Worksheets 811 are all designed to provide further rendering and presentation practice. Students should use good-quality white pencils for highlighting the edges of each letter on worksheet 11. Techniques for adding realism through such effects as reections are provided. Students are also encouraged to mount their work. Answer to 2.2 Activity 1 (SB page 19) Shading a drawing gives the image a more realistic appearance. Giving the appearance of surface texture and
GCSE Graphic Products for AQA: Teachers Resource File Heinemann Educational 2005
showing how light is reected both help to make the drawing more lifelike.
Student book chapter 2.7 Working drawings 1: Orthographic projections

Worksheets Worksheets 2225 are designed to consolidate students knowledge and understanding of orthographic projections and to allow them to practise their skills. The nal sheet (25) involves an exercise on dimensioning, a topic which is often neglected in coursework. It is worthwhile getting students to practise basic dimensioning, focusing on correct practice.
Student book chapters 2.4 and 2.5 Colour theory and Presenting your ideas to a client
While the TRF does not contain specic activities related to these chapters, it is important for the teacher to ensure that the principles laid out in these chapters are adopted within students coursework. For example, when analysing existing products, students should be able to explain why particular colour choices and combinations have been made. The same is true when designing their own products. Colour choice is such a central element of a products aesthetic appeal that it must be stressed constantly. Make sure that the concept of presenting ideas to a client forms part of a students understanding of industrial practice. Explain to students that presenting their ideas forms an important part of the work of a designer in the real world. Working with a client is an industrial model and therefore one which we should try to emulate in the classroom wherever possible.
Student book chapter 2.8 Working drawings 2: Architectural drawings and plans
This chapter introduces students to planometric projection (sometimes referred to as axonometric projection). This is a traditional projection often used for pictorial representations of architectural designs.
Student book chapter 2.9 Information drawings

The point of any information drawing is to convey a message. It is therefore important for students to understand both the message they want to get across and the audience it is intended for. Encourage students to approach information drawings as a new language that uses imagery, layout and presentation to convey the original message. Throughout all their work on information drawings, stress the concept of simplicity: simple design, simple manufacture and simple to understand. Worksheets Focusing on pictograms, graphs and symbols, worksheets 26 29 provide activities designed to reinforce the basic principles of good design outlined above. The use of examples using a foreign language should help highlight to students the fact that simplicity of design gives clarity of information and meaning. The two worksheets on graphs and the use of imagery to create interest (2829) give students the opportunity to experiment with different ways of visually representing statistical data. Encourage freedom of expression, while making it clear that students should aim to make the information easy to understand. There will be good opportunities to learn from feedback with this activity. Ask the class to provide constructive criticism on the effectiveness of students work. Answer to 2.9 Activities 1 & 3 (SB page 33) 1 Pictograms are easy to understand as they do not involve written language. Instead they use pictorial images to represent the information. This means anyone from any country should be able to understand the message of the pictogram.
Student book chapter 2.6 Pictorial drawings

This chapter gives students practice in perspective drawing and using isometric projection. Worksheets Worksheets 1215 are designed to develop students skills and understanding of perspective drawing. These sheets provide differentiated activities to ensure all students are fully engaged. Worksheet 15 is intended as a homework activity. Worksheets 1619 aim to help students to gain condence in their use of isometric projection. This is a useful skill to practise, as an isometric image is often required as part of the nal design drawings in the exam. Worksheet 18 provides an isometric sketching activity for homework. Worksheets 20 and 21 provide templates for different sizes of circles and ellipses to help speed up their design work. When used as underlays with layout paper or low-grade 80 gsm paper, they will help students to sketch with a good degree of accuracy. In addition, worksheet 21 can be used when sketching with isometric projection as the templates provide a good approximation of isometric ellipses.
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3 Graphs and charts are easier to understand as they represent data in a visual way, enabling patterns and variations to be quickly understood. Raw numerical data takes much longer for the human brain to process into a visual image.
Student book chapter 2.13 Surface developments: Nets 2

This chapter develops students knowledge of nets into actual carton design. The focus is on the main types of carton closures used: the standard tuck-end carton, as well as cartons with slick-lock, tab-lock and postal-lock closures. Discuss with students the advantages of each type of closure, including their differing degrees of tamper-proong, so that students can make an informed choice about the type of closure they require when designing a new carton.
Student book chapter 2.10 Signs, symbols and labels

Central to this chapter is the importance of breaking down the barriers of language and culture. The importance of the symbol to all forms of graphic communication cannot be overstated. When you see a footprint in the earth, you picture the creature that made it such is the power of symbology. Worksheets The four worksheets to support this chapter (worksheets 3033) cover road signs, communicating the message, environmental imagery, and the use of arrows.

The coverage of carton types is continued in this chapter; other common carton forms are introduced, such as the sealedend carton so widely used in supermarkets. The main focus, however, is on the crash-bottom (or crash-base) carton. This type of closure is used in many different types of packaging, from sweet cartons to wine carriers, and is a key mechanism for students to know about, understand and make. Worksheets Worksheet 41 contains three design briefs for students to use in conjunction with the nets provided on sheets 41AC.
Student book chapter 2.11 Typography

It is vital for students that all study of typography is reinforced with clear examples from magazines, posters and advertisements designed for purpose. Typograhical illustrations must be seen in the light of message and audience. In addition, it is a good idea to link the teaching of ergonomics to typography. Ask students to explain why sans serif typefaces are always used on emergency exits and why contrasting colours are used to aid clarity. Worksheets Worksheets 3440 provide extensive opportunities to develop students understanding of this most important aspect of graphic design. From font design to typographical layout, the worksheets reinforce the key elements of the subject as explained within the student book and can be used for homework or classwork, as well as to provide extension activities.
Student book chapters 2.15 and 2.16 Corporate identity and Creating a corporate identity
As companies merge and diversify, their need to be recognised and to create brand loyalty increases hence the rise of corporate identity design. Worksheets There are 13 worksheets (4254) to accompany these two chapters. They are designed to support the student book by giving practical activities for students to follow. Corporate identity design has much in common with symbology, typography and pictogram design. By completing the activities on these worksheets, students will have the opportunity to reinforce valuable learning in these important areas through their study of corporate identity design. Answers to 2.15 Activities 1 & 2 (SB page 45) 1 Possible answers are: instantly recognisable eye catching easy to reproduce onto different products and materials gives an idea of what the company/organisation does. 2 A logo is a graphical image, which could be a combination of symbols and words, that is used to represent a piece of information or as a company/corporate identity.

This and the following two chapters focus on surface developments, which are also commonly known as nets. In this chapter, students are introduced to the basic principles of nets, including the line types used as part of the drawing conventions and the use of windows for displaying the products. It is important to impress upon students the need to use the correct line type as this is expected in examinations.
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A trademark is a name and/or logo, which represents a company and solely belongs to that company/organisation. Answers to 2.16 Activities 1 & 2 (SB page 47) 1 Companies adopt a corporate identity to identify themselves to the consumer in a way which promotes the values, ideas and uniqueness of the company in a positive light. 2 Typical monolithic identities are: Shell Corporation Virgin Nike 3M
Student book chapter 2.17 Case study: IKEA

This chapter provides students with the rst of three case studies highlighting successful graphic design. The global phenomenon that is IKEA provides an invaluable source of information to the budding graphic designer. The logo itself represents the best of graphic design: it is simple and its meaning and associations are clear. Through product analysis of this type, students will develop an appreciation of how to apply the principles of good graphic design.
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SB 2.1
Freehand sketching exercises
Foundation
Drawing straight lines

To draw straight lines you need to hold your pencil or pen correctly. Clamp the pencil between your thumb and two ngers as shown opposite. Keep your hand relaxed and, when moving, try not to rotate your hand. Instead move your whole arm along the line you want, otherwise you will tend to produce a curve.
Draw a square and then a series of horizontal lines followed by vertical lines. Try to keep them an equal distance apart. Then do diagonal lines. If this seems difcult, use the grids as underlays and try to follow each line.
Drawing circles
Circles can be tricky to draw. Some do them anticlockwise. Whichever way is easier for you, try to draw a circle with a single sweep of your hand. Ghost the circle if necessary this means going round lightly a few times until a good general shape has been made. Then draw round the best line with a pen. Draw a series of concentric circles within each of the circles below, trying to do each with one sweep. Then try producing your own circles without any aid.
GCSE D&T for AQA - Graphic Products TRF people 0435413465u02_fig001 draw them clockwise, while others same size
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Freehand sketching ideas using geometric shapes
SB 2.1
Core
Below is a series of geometric shapes and lines. By combining these in a variety of ways, it is possible to come up with an almost limitless set of visual structures. These can then be developed into a suitable graphic product, for example, a packaging shape, a logo or symbol.
Here are some examples of what can be done.

On a separate sheet, use the shapes and examples given here to help you create your own ideas for any design task.
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Using crates to create a freehand isometric drawing
SB 2.1 Extension
A useful way of constructing a drawing or sketch is to draw a simple box or crate which will enclose the object you to want to draw. This is known as crating. In the sequence below the drawing of a sellotape holder is developed. Use the technique and try to copy each stage yourself.
1 2 1 Draw the crate. 2 Draw the basic outline
carefully.
3 Add the major detail rst. 4 Then add smaller details, such
as curves.
5 Check that the drawing looks
correct adjust any parts by rubbing out and redrawing. Then go over the main lines with a thicker pencil or marker pen. lines and add any rendered nish as required.
6 Finally, rub out all the crating
Extension
Now try to create an object of your own choosing. Stick with rectangular objects to begin with while you gain condence, and then move on to more difcult shapes.
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Colour rendering exercise light and shade
SB 2.2 Core
Colour render the shapes shown, imagining a light source is coming from the direction of the arrow. Use any suitable rendering media.
Tips Very shiny surfaces reect a lot of light and will be affected by reections from the surface they are standing on. On a matt surface all the reections are lost, leaving only a gradual tone across each face. The top GCSE D&T for AQAwill be the lightest and slightly graded from back to front. surface - Graphic Products TRF 0435413465u02_fig003 Take care to blend in your crayon or marker build up the tone and reections gradually. Internal same size edges will reect light, so use a white crayon to show this.
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Rendering exercise disposable razor
SB 2.2 Extension
Shown below are two views of a disposable razor. Using marker pens and colouring pencils, render the razor in colours of your choice. You might want to cut it out afterwards and mount it on a suitable backing.
Rendering tips Use a broad marker to coat the razor using swift motions. Leave some thin areas to represent reections. Use a darker-coloured marker to highlight edges and shadows. GCSE D&T for AQA - Graphic Products TRF 0435413465u02_fig004 Use a white crayon to add reections on edges. same size
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10 Rendering exercise
mp3 music player
SB 2.2 Extension
Shown below is a typical mp3 player. Using marker pens and colouring pencils, render the player in colours of your choice. You might want to cut it out afterwards and mount it on a suitable backing.
MP
t lis lay t P lis lay t P lis ay t Pl lis ay t Pl lis ay Pl NU
ME
Rendering tips Use a broad marker to coat the mp3 player using swift motions. Leave some thin areas to represent reections. Use darker colour marker to highlight edges and shadows. Use a white crayon to add reections on edges.
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11 Rendering exercise
tone and shade
SB 2.32 Core
Render each of the 3D relief design blocks using colouring pencils or markers, or a combination of the two, to show the different reective properties of the surface textures indicated.
1 Bright plastic
2 Cast metal
3 Wood
Tip Remember that edges reect light. Use a white pencil to highlight this or leave the edge unrendered.
4 Any matt colour
Extension
Add thick and thin lines. Add shadows to the base of each block.
GCSE D&T for AQA - Graphic Products TRF 0435413465u02_fig006 24 size GCSE Graphic Products for AQA: Teachers Resource File Heinemann Educational 2005 same
12 Drawing objects using

perspective drawing
SB 2.6 Core
Perspective drawing is a method of producing a realistic 3D drawing. It represents how the human eye puts an object into perspective when it views it. Objects that are near appear to be larger than objects that are further away. As an object recedes into the distance, it appears to decrease in size until it reaches a point where it disappears (the vanishing point). A good way of seeing this is to look down a row of terraced houses or along a straight road. General rules 1 All perspective drawings have a viewing line, or horizon, from which the object is sighted. An object may appear below, on or above the horizon line. 2 Somewhere on the horizon line the vanishing point will be positioned. This point is where all the lines on your drawing will end up. One-point perspective (below horizon)
Vanishing Point
One-point perspective (above horizon)
HORIZON
HORIZON
Two-point perspective
VP HORIZON VP
One-point perspective uses just one vanishing point and is the easiest to draw. You start by drawing the front face of the object. Two-point perspective is perhaps one of the best methods for creating a realistic drawing of an object. It has two vanishing points and you start by drawing the front corner of the view this is the only part you can draw to true length. All other dimensions are relative to it. Both methods are useful when producing presentation drawings, which require realism, like in interior design or producing a packaging concept.
QA - Graphic Products TRF 2_fig007
GCSE Graphic Products for AQA: Teachers Resource File Heinemann Educational 2005 0435413465u02_fig008
GCSE D&T for AQA - Graphic Products TRF same size
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13 One-point perspective
lettering
Draw the projection lines on this drawing for the remaining letters. Add colour tone and shading.
VP
SB 2.6 Core

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14 One-point perspective for

drawing interiors
SB 2.6 Extension
This drawing is a view of the back wall of a room. The real measurement of a room could be used, then scaled down to a suitable size, such as 1:50. The cupboard unit has been drawn in proportion to the room. The measurements of the side and bottom lines, where the unit would t against the wall, have been projected forward. A grid has also been included to help establish depth. Note how the gridlines are wider apart as they project away from the wall.
back wall of room height line
eye line
VP
height of unit
floor line
depth of unit
Draw the basic outline for the interior of a room and then draw in items of furniture and room features using the methods described above. A3 paper is best as it gives you more space to work in. Tips Make sure your projection lines are faint. Draw objects nearer to you rst.
GCSE D&T for AQA - Graphic Products TRF 0435413465u02_fig011 same size
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SB 2.6
Perspective drawing homework
Core
Complete a one-point perspective drawing and a two-point perspective drawing of a regularshaped object found in the home. Sketch them in the boxes below, using the vanishing points shown.
Extension
Redraw each object on another sheet, with the vanishing points in different positions: lower down or further towards the left or right.
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16 Drawing objects using

isometric projection
SB 2.6 Core
Isometric projection is a type of drawing in which a 3D view is created by making the horizontal planes of an object tilt at an angle of 30. There are two basic rules to remember:
1 All dimensions of an object are drawn to their actual scale size. (The word iso means equal and
the word metric means measure.) So a 50 mm cube should have all sides drawn 50 mm long. This technique can make objects look a bit odd, as no perspective is added.
2 Always start by drawing the front corner of an object.
Note also that only three sides of an object are visible.
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30
An isometric grid is useful for sketching. Use it underneath your design sheet as a line guide.
In the space below complete the isometric drawing of a cube. The rst part is drawn for you. Remember to start with the front corner of the object. Then have a go at drawing the object shown on the grid.
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17 Creating print-effect text using

isometric projection
SB 2.6 Core
Printed words all have measured gaps between the letters and are created inside boxes of a standard size depending on the letter style. Being able to draw print-effect lettering using isometric projection can be a useful technique for producing the graphics on a piece of packaging or a similar product. Follow the steps below to produce your own text using isometric projection. This task can be quite difcult but these stages should make it a little easier.
spaces between each letter
1 Draw guidelines using faint
pencil lines. Then draw each letter in the box choose a simple block style to begin with. down and draw two isometric lines using a 30 set square. Make sure the distance between the lines is the same as the height of the letters you have drawn above. each letter in the boxes you have made. You may want to add more isometric lines to help draw each part of the letter.
2 Now extend the guidelines
faint guidelines
3 Now you can carefully draw
Extension
Practise drawing lettering on horizontal planes as well as vertical faces like the top surface of a piece of packaging.
T for AQA -30 Graphic Products TRF 465u02_fig014 e
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SB 2.6
Isometric sketching homework
Core
Using the grid below, draw an everyday object found in the house or classroom. Try to sketch freehand, drawing either directly on top of the grid or using it as an underlay. Add some shading to give the drawing texture and colour. Use the thick and thin line technique shown on page 18 of the student book.
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SB 2.6
Isometric drawing exercise
Extension
Use a 30 set square or isometric grid underlay to draw the objects shown on this page. Choose a suitable scale size for each one.
Extension
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Add thick and thin lines to each example (see the armchair example on the right) and then some colour tone to create texture and shading.
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SB 2.6
Circle template
Foundation
Use the circle template as an underlay for sketching circles. This will help to speed up the process of designing as drawing circles using a compass is very time-consuming.
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SB 2.6
Ellipse template
Foundation
Use the ellipse template as an underlay for sketching in isometric projections. This will help to speed up the process of designing as drawing ellipses can be very time-consuming.
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SB 2.7
Orthographic projection
Extension
Complete the missing view or views for each orthographic drawing shown below.
1 Add any construction lines needed to complete the side elevation on A and the plan view on B.
2 Look at the two solids shown at the bottom of the page. Then identify each of the views shown above
them: plan view, side elevation and front elevation. Shade in each view using a different colour, and then apply the colour to the corresponding view on the solid gures each view should match up.
GCSE D&T for AQA - Graphic Products TRF All views in third angle orthographic 0435413465u02_fig019 same size QA - Graphic Products TRF 2_fig018
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23 Third angle orthographic

drawing method 1
SB 2.7 Foundation
The method described here is the simplest way of doing third angle orthographic drawing and will familiarise you with the principles involved.
1 Place a simply shaped wooden block on a sheet of paper
in the position shown, and trace around it.
This view is called the front elevation.

2 Now look at each side of the wooden shape (looking in the directions shown by the arrows) and draw
what you see from that view of the shape.
3 You will end up with all the views as shown below. For a simple object, three side views are normally
sufcient but in complex drawings, many subsidiary views may be needed.

Plan
Side GCSE D&T for AQA - Graphic Products TRF 0435413465u02_fig022 same size
Side
Front
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24 Third angle orthographic

drawing method 2
The method described here is the most widely used method of producing working drawings. The following six steps show how to draw the point of sale display box shown here. You can then apply these steps to other products. Tips Use a 2h or 4h pencil. Use a drawing board and tee square with a set of set squares. All construction lines should be faint. Label the views and add dimensions.
1 Draw plan view in position shown.
SB 2.7 Extension
4 Add construction lines to the right horizontal.
Add a 45 line projecting from corner edge of front elevation.
45 degree line
2 Add vertical construction lines.
5 Draw side elevation using construction lines note that the construction lines for vertical edges project from the 45 line.
Construction lines
3 Draw front elevation using construction lines.
6 Finish your drawing should look like the
example.
Plan view 50
Hidden detail Front elevation
Side elevation 75
100
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SB 2.7
Dimensioning exercise
Extension
The orthographic drawing below has been dimensioned so that some features, i.e. the 10 mm wide slots, are dimensioned from each other. Sometimes, this is called incremental dimensioning.
1 Using a tolerance of +/1mm, calculate the maximum and minimum dimensions of all the features
from datum faces A & B.
2 Draw the slotted block and re-dimension it so that the position of all features is no greater or smaller
than 1mm from Datums A & B. This is sometimes called absolute dimensioning.
Make sure you use the correct methods for producing dimension lines, arrows and lettering. This is a good exercise to do both on drawing boards and using a 2D CAD package.
3 In what situation would each type of dimensioning be used?
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10
10
10
10
10
10
10
10
10
10
10
10 Datum A 10
60
60
All dimension in MM All corner and edge radi 2mm Datum B
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SB 2.9
Pictograms
Foundation
This is part of a map for a French amusement park, which receives visitors from all over the world. The pictograms on the key are designed to help people understand the facilities on offer. Pick four pictograms that you like and draw them bigger in the boxes. A C
What does each pictogram mean? Write its meaning in the space given. A B C D
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How do they differ from what you might see in this country?
Could they be mistaken for something else? If so, how?
How could you improve their clarity. Draw new versions for two of them in the boxes.
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SB 2.9
Keeping it simple
Core
The best quality pictograms are the simplest and most easily identiable. One way to achieve this is to keep the number of colours to a minimum. Pay careful attention to use of the applied colour and the shapes it creates on the background colour. Draw a pictogram for the areas for two different subjects at school, using only one colour on a white background. When you have nished, make your pictograms actual size by cutting the images from coloured paper and xing them to white card. Rough ideas
Idea 1 Subject:
Idea 2 Subject:
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SB 2.9
Using graphs
Extension
Carry out a survey in your class using the following questions.

1 What month is your birthday? 2 Do you prefer summer or winter? 3 Which is your favourite TV soap? 4 List your ve favourite shops.
Now select a graph type to display the results for each question. Think about the style of the question and the type of answers you have got. Choose from: pie, line, bar, pictogram or other types that you know. Draw your charts in the boxes. 1 3
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SB 2.9
Fun graphs
Foundation
When you present data in a graph remember to think about what you want to say and who you want to tell; the resulting graph can be quite boring if you are not careful. Using your graphic skills you could deliver the information in a variety of fun ways. Pick an appropriate image based on the data and use your imagination, remembering to label the axes or include a key to explain your graph.
A B C D
Red Blue Yellow Green
50% 20% 20% 10%
This graph tells you which colour pencil is the most popular.
The faces on this graph show how popular a new avour of smoothie is.
number of pupils
tastes nice
tastes horrible
not sure
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SB 2.10
Road signs
Extension
The designs for these road signs follow strict rules and have a common style. They give warnings or orders to road users, using simple shapes, colours, words and imagery.
Create new road signs to communicate the following messages.

1 Slow down (without words). 2 No eating while driving. 3 Pedestrians cross here. 4 Heavy goods vehicles in this lane. 5 Do not use your mobile phone. 6 Cyclists stay on the left. 7 You can park here (without words). 8 Now make one up yourself ...
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SB 2.10
Communicating the message
Foundation
This photo shows a road sign indicating that hitching a ride is not allowed anywhere on this stretch of road. Its aim is to keep trafc owing and to warn drivers not to stop.
However, the sign might mean something completely different to someone from the UK. In the UK, this hand signal is commonly used to mean good or well done. What else could this road sign mean?
Where else could it be placed to give it other meanings?
Design your own version of the no hitchhiking sign to make the meaning clear to someone from the UK.
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SB 2.10
Environmental imagery
Core
This buttery image indicates that the bag is benecial for the environment. The use of this fragile and beautiful animal, the colour green, the phrase eco and the style of the print all reinforce the same message. Collect examples of signs and labels that indicate environmentally friendly goods, activities or companies. Draw or stick them on this page. Look to see what is similar about them and discuss the themes that appear. Why do you think these symbols and signs are used?
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SB 2.10
The use of arrows
Core
Arrows are frequently used in graphics to communicate movement and the direction of movement. Depending on the way they are drawn, they can be used to convey quite complex messages without the need for written explanations, for example movement in 2 or 3 dimensions as well as the speed of movement. Styles can vary from traditional to modern, but they all point the way. Think of six different ways in which an arrow can be used to convey movement sketch each one to illustrate its effectiveness. (For example: turning the volume up on a radio, icking a light switch, you are here on a map, etc.)

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SB 2.11
Designing a new typeface
Extension
Use the boxes to help you design new and fun typefaces. Take care to keep the style the same; use the guidelines. You will probably nd that some letters are trickier than others. Example:
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SB 2.11
Variety of typefaces
Foundation
Collect six different typefaces from magazines and newspapers and paste them onto this page. Try to make the range as wide as possible. For each typeface write three distinguishing characteristics that it has and how these characteristics make the typeface appeal to its market. Characteristics Stick example here
Characteristics Stick example here
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SB 2.11
Meaning of typeface styles
Extension
Look at the list of seven descriptive words below. Try to nd an example of a style of typeface that makes you think of each word. Copy each example next to the word, then briey explain why you think it is a good choice for that word. You could search for typefaces on a computer, in publications or on product packaging.
Word Happiness Example Explanation
Sadness
Summer
Cold
Young children
Sharp
Are any of your typeface choices more successful than others? What is it about the design and layout of these typefaces that makes them more successful?
Its not what you say but how you say it. How does this phrase relate to the use of typefaces in advertising?
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The future
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SB 2.11
Typography reference sheet
Extension
Use a computer to create your own typography reference sheet. Use your own ideas as well as the ones shown here to represent the main typographical styles and techniques..
Times New Roman 6 point
UPPER CASE lower case Bold Italics Specialist typefaces Blackadder Bauhaus Chiller Jokerman Lucida Handwriting Old English Text MT

Sans serif typefaces Arial Bell Gothic Comic Sans Gill Sans Lucida Sans Tahoma left justied Serif typefaces Baskerville Georgia Lucida Bright Modern No. 20 Perpetua Times New Roman centre justied
right justied
Now research each of the typographical terms listed below. You can either write about them or put examples here. Headers Subheadings Footers Kerning Density Numbering Layout Leading Tracking Captions Lines Borders
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SB 2.11
Visual impact
Core
Using different coloured lettering, background colours and borders can have a big effect on the visual impact of your chosen typeface. Look at the ve ways this upper case serif typeface R has been printed. Which one is the easiest to see (stands out more)? Why? Ask someone to hold up the sheet at a distance from you. What is your opinion now? What features make each letter more or less visible?
Try out some typeface styles in the boxes below. Change the colours and backgrounds to see which is the best way (and the worst way) of presenting the lettering. Remember to look at your work from a distance as well as up close.
Which of your typeface styles works best and why?
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Wrapping text
Extension
When applying text to the 3D image of a product you are designing, remember that the writing must appear at the same angle as the drawing. You need to rst plan your text in 2D and then transfer it carefully to the 3D drawing. The illustration below shows one panel of a box. Using the two central lines as guidelines for the top and bottom of your text, write the product name in 2D. Then transfer the text to the 3D panel.
Now plan a graphic layout with text that will cover two joining faces of a cube. Plan it on the 2D faces on the left, and then transfer it to the cube. Remember to use additional lines to help you. Can you also take the text onto the top panel? What angle should it be at?
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Planning titles
Extension
When creating an idea for the layout of text, the rst stages are done by hand. Later the layout is precisely measured using a CAD program. DREAMS is a holiday company. In the companys next promotion, they want to use the image of the sun rising over a sandy beach.
1 Write the word DREAMS in a typeface of your choice in
the six boxes. Then transfer the letters into the boxes that are radiating from the sunset design. Make the letters ll the boxes.
2 Now write the word HOLIDAYS underneath the central line. Plan the position of each letter and draw
in guidelines.
3 Finish off the design by drawing an appropriate image in the centre. Can you incorporate the lettering
in your image? Try to make it look like a professional product where every part is linked to the others.
GCSE D&T for AQA - Graphic Products TRF 0435413465u02_fig036 GCSE Graphic Products for AQA: Teachers Resource File Heinemann Educational 2005 same size
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Net development design
Core
Once a net has been made of a possible package development, it is the graphic designer who adds the images and text. Below are three design briefs relating to the net developments on worksheets 41A, 41B and 41C. Read each brief and decide which one you would prefer to work on. Use ICT to scan the appropriate net shape into a suitable software package. Then use the software to create your design. Brief 1: Chocolate box (net 41A) A brand of chocolate is to be launched called Cruncher. The product is designed to be a healthier snack bar. The main target market is children aged between 5 and 12. It is anticipated that the product will be used as a sandwich box ller for school lunches. The chocolates are the size and shape of a 10p piece and will be individually wrapped in coloured foil. Brief 2: Candle holder (net 41B) A new range of scented candles is to be launched to take advantage of the current popularity of aromatherapy relaxation remedies. Each candle will be in a glass container colour coded to represent each type of scent used. The candles will be sold in high quality gift shops, chemists and by mail order over the internet. The target market is young women aged 15 and above. Brief 3: Carry handle box (net 41C) This box has been designed to carry a puzzle consisting of hardwood shapes, which interlock to form a cube. The puzzle is to be sold in craft shops, toy shops and in large retail outlets such as department stores. The puzzle is suitable for all children aged 7 and above. For each of the above briefs you will need to produce the following: a mood board a collection of imagery mounted on A3 (objects, colours, styles, people, etc.) related to the target market. Many magazines are aimed at specic target groups and are a good resource. This task could be done in groups so that you have a wide range of visuals to help generate ideas. a range of annotated layouts showing a variety of different possible outcomes. These do not have to be fully rendered but you must evaluate them to see which one(s) best t the requirements of the brief. a nal development, or proof, of the best design layout, including: a recycling symbol a bar code instructions (if required).
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41A Net for chocolate box

with clip closure
SB 2.122.14 Core
GCSE D&T for AQA - Graphic for AQA: GCSE Graphic ProductsProducts TRF Teachers Resource File Heinemann Educational 2005 0435413465u02_fig037 same size
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41B
SB 2.122.14
Net for candle holder
Core

56 D&T for AQA - Graphic Products TRF GCSE Graphic Products for AQA: Teachers Resource File Heinemann Educational 2005 GCSE
0435413465u02_fig038
41C
SB 2.122.14
Net for carry handle box
Extension
75
78
45
40 40
80
40
60
GCSE Graphic Graphic Products TRF GCSE D&T for AQA -Products for AQA: Teachers Resource File Heinemann Educational 2005 0435413465u02_fig039
57
50 40 40 50 78
80 60 60
60
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SB 2.15
Imagery and copyright
Extension
At rst glance this student is wearing a jacket made by a well-known sports brand. On closer inspection you can see that it is in fact a variation on the well-known corporate identity. The designer has used the overall image and style of the corporate identity, but has subtly altered the divisions in the lettering. Note that if this is done to make money or deliberately fool the consumer, it is an illegal act!
Think of four major brands which have strong overall identity designs. See if you can change them so that at rst glance someone might think they were the original. Draw your ideas here. It must be clear that they are subtly altered copies when they are inspected closely.

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Responding to change
Core
A member of the public thought that the logo used by Little Chef was not in keeping with modern concerns about obesity and the eating habits of young people. She complained to the company that the original, shown on the left, represented a young person who was rather overweight. In response to her comments, the company produced a trimmer, more mature gure for their logo, shown on the right.
re
fo
Be
Changes
Similarities
59
What changes have been made and how has the overall corporate identity been kept the same? Write your comments in the boxes below.
ft
er
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SB 2.15
Rebranding
Foundation
Companies sometimes change their corporate identity in a process called rebranding. There are a number of reasons why a company might do this. When BP merged with another company, they chose to change their image. Usually the changed brand retains some elements of the previous design. Give ve reasons why a company might decide to change its corporate identity.
1
Think of a well-known corporate identity and, using one or more of the reasons you wrote above, rebrand it. Draw the before and after designs in the boxes. before
after
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Who is the target market?
Core
Breaking down the general public into age groups so you can categorise them into target markets is hard, as the ages dont easily t into regularly sized groups. When looking for an age range that will respond to your corporate identity, often you need to consider that age groups lifestyle as an important factor. In the box next to each of the age ranges below, describe that age groups preferences and priorities in life. What type of market does each section represent to the retail business?
0 2 years
3 4 years
5 8 years
9 12 years
13 16 years
17 20 years
21 25 years
26 35 years
36 45 years
46 55 years
56 65 years
66 80 years
81 100 years
How else could you divide up the years to make the target market easier to manage?
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SB 2.15
Trademarks
Extension
Trademarks are simple and easily recognisable pictorial or written labels that belong (legally) to a company. They are often strongly associated with the main company corporate identity. Collect 4 registered trademarks and stick or draw them in the boxes below. Describe one good and one bad point about each trademark in the Discussion box. Write down the name of the company and the product it came from in the relevant boxes. Trademark 1 Trademark 3
Discuss
Discuss
Company
Product
Company
Product
Trademark 2
Trademark 4
Discuss
Discuss
Company
Product
Company
Product
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47 Key elements of a corporate

identity
Keeping the corporate identity simple is often very important. The customer needs to be able to identify the company and possibly their products quickly and easily. Take a page from the Yellow Pages or your local newspaper. Find two black and white advertisements for similar companies. Stick them in the spaces below. What are the key elements of each advert? How are they similar or different? What can you learn from the overall look of the advertisements? How could they be improved? Do their target markets differ?
SB 2.15 Foundation
Advert 1
Key features
Good / Bad points Stick advert here

63
Possible improvements
Advert 2
Key features
Good / Bad points Stick advert here
Possible improvements
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SB 2.15
The wrong name!
Foundation
Sometimes companies get it wrong. We live in a global market place, which means we sell our goods throughout the world and across lots of different language barriers. Any new corporate identity must be thoroughly checked out, otherwise it could confuse or even offend some people, and as a result lower sales. Can you think of any advertising that you have found confusing, strange or offensive? This newspaper article gives a few examples.

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Getting the message across
Foundation
When you name a company and use it in the corporate identity, there are two main choices: you can describe your business (e.g. ToysrUs ) or you can try to create a universal name that might convey a style (e.g. Qinetiq). Either way, you must attract the right target market and create the right image for your business. Find ve company names which obviously tell you about their business.
1 2 3 4 5
Which one is the best and why?
Find ve company names which leave it unclear what their business is.
1 2 3 4 5
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Which one is the best and why?
50
SB 2.16
Coming up with ideas (1)
Core
Design a corporate identity for a new fast food restaurant which is coming to your local area. Think of a simple name and the main style of food to be sold. Draw 8 images that you associate with the chosen food style of your fast food restaurant. Explain each idea.
Write the name of the restaurant in full in 4 different typefaces. Explain each idea.
Just using outlines (for instance, based on the chosen food), draw 6 possible shapes for your corporate identify. Explain each idea.
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SB 2.16
Coming up with ideas (2)
Core
Design a corporate identity for a new fast food restaurant which is coming to your local area. Think of a simple name and the main style of food to be sold. Create two whole corporate identity designs by combining some of the ideas you have already generated. Select a shape, an image and a typeface style from your previous work. Combine them to make a complete corporate identity. What works well in your design and why?
Selected Rejected Select a shape, an image and a typeface style from your previous work. Combine them to make a complete corporate identity. What works well in your design and why?
Selected Rejected Get the opinions of two other people and then select the best design. Why is it better?
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Know your market
Foundation
When creating a new look for a company, it is vital to reect the tastes of your intended target market. This can be done by investigating what is already currently attracting them. Collecting together images and mounting them is known as creating a mood board. My product is: Age group: Gender: Lifestyle:
Select a popular product and write its name in the box above. Then decide on the most appropriate target market: write the age range, gender and lifestyle in the boxes. Try to be specic anyone can buy the product but who is it targeted at? Next cover this grey box with images that you associate with this group of people. Its important to use your imagination here. When you have stuck all your examples down (you can overlap them make it look interesting), explain your choices in the space around the outside. Some ideas to get you started: holidays, houses, chocolates, drinks, famous people, sports, leisure time, places, colours, shops, TV programmes, games, cars, gadgets, cartoons, music, magazines, toys, lms, books.

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Using CAD to speed things up
Extension
There are many computer programs available that could help you with your design. For example, Microsoft Ofce program Publisher has wizards to help you create fast and effective corporate identities. Follow the steps below to create your own range of products with the same corporate identity. For this activity, concentrate on creating a range of paper products, such as business cards, yers and posters.
1 Load up a suitable program and look for the prompts to take you to the wizards. These are sections
of the program specically designed to help you. They contain many shortcuts, hints and easy to follow steps. you with. Remember that a corporate identity is something that appears on as many products as possible to identify the maker.
Anton
Your Title
2 Select the publications for print. Look through all the types of products the program could help
3 Choose business cards. 4 Select a style that you like. Dont worry about the
Business Name
colours and details as these can be changed. When you have chosen a card style, begin to work through the elements of what it looks like. You will nd that you can change everything. typeface type and size, the colours, as well as move lines and boxes. You can even remove and replace bits you do not like. given logo and choose your own from clip art or one that youve created yourself.
Organization
Primary Business Address Your Address Line 2 Your Address Line 3 Your Address Line 4 Phone: 555-555-5555 Fax: 555-555-5555 E-mail: someone@example.com
5 Try altering various parts. You can change the
Mr A Bacus
6 To personalise your business card remove the
THE BUSINESS OF DOING BUSINESS

The Warehouse Factory Estate Workington BA14 41AB Phone: 555-555-5555 Fax: 555-555-5555 E-mail: someone@example.com
7 Now go back and select another type of
BUSINESS NAME
publication, for example a yer. Try to create your new publication type with a similar identity to your business card. similar identity.
Your business tag line here
The Business of Doing Business
8 Carry on to create a range of products with a
BUSINESS NAME Primary Business Address Your Address Line 1 Your Address Line 2 Your Address Line 3
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Managing Director
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SB 2.16
Making it t
Foundation
The basic shape of an identity is very important, especially if you have to put it onto oddly shaped objects. Try tting this design onto the shapes below.
To keep it clearly readable you will have to alter it. Record what you did to make it t and why.
70

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2

Student book chapter 2.1 2D and 3D sketching

What you need to know

General hints and tips for teaching drawing skills

Student book chapter 2.7 Working drawings 1: Orthographic projections

Student book chapter 2.9 Information drawings

Student book chapter 2.6 Pictorial drawings

What you need to know

Student book chapter 2.13 Surface developments: Nets 2

Student book chapter 2.10 Signs, symbols and labels

Student book chapter 2.14 Surface developments: Nets 3

Student book chapter 2.11 Typography

What you need to know

Student book chapter 2.12 Surface developments: Nets 1

Student book chapter 2.17 Case study: IKEA

What you need to know

Freehand sketching exercises

Drawing straight lines

What you need to know

Freehand sketching ideas using geometric shapes

Here are some examples of what can be done.

Using crates to create a freehand isometric drawing

5 Check that the drawing looks

6 Finally, rub out all the crating

What you need to know

Colour rendering exercise light and shade

What you need to know

Rendering exercise disposable razor

What you need to know

t lis lay t P lis lay t P lis ay t Pl lis ay t Pl lis ay Pl NU

What you need to know

What you need to know

4 Any matt colour

12 Drawing objects using

One-point perspective (above horizon)

QA - Graphic Products TRF 2_fig007

GCSE D&T for AQA - Graphic Products TRF same size

What you need to know

What you need to know

14 One-point perspective for

What you need to know

Perspective drawing homework

What you need to know

16 Drawing objects using

2 Always start by drawing the front corner of an object.

Note also that only three sides of an object are visible.

What you need to know

17 Creating print-effect text using

1 Draw guidelines using faint

2 Now extend the guidelines

3 Now you can carefully draw

What you need to know

T for AQA -30 Graphic Products TRF 465u02_fig014 e

Isometric sketching homework

What you need to know

Isometric drawing exercise

What you need to know

What you need to know

What you need to know

What you need to know

23 Third angle orthographic

in the position shown, and trace around it.