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The following information, videos and images will assist you to successfully complete the Learning Activity Task Formative Assessment and Short Answer SAC. You need to read, watched and take notes to help form and cement your knowledge of how designers work within industry.
The following information, videos and images will assist you to successfully complete the Learning Activity Task Formative Assessment and Short Answer SAC. You need to read, watched and take notes to help form and cement your knowledge of how designers work within industry.
THERE ARE 6 KEY AREAS:
AREA 1 - DESIGN PROCESS
AREA 2 - DESIGN FIELDS
AREA 3 - ROLES AND RESPONSIBILITY
AREA 4 - HOW DESIGNER WORK
AREA 5 - OTHER FACTORS THAT SHAPE DESIGN
AREA 6 - COPYRIGHT AND INTELLECTUAL PROPERTY
HOW DID WE GET HERE?
HOW DID WE GET HERE?
Take a look at the two videos below. Try to imagine, what were the priorities of the designers. What was designed to realise the outcomes shown in the videos? Is design today the same as it was fifty years ago?
AREA oNE - DESIGN PROCESS
AREA oNE - DESIGN PROCESS
KEY TERMS
KEY TERMS
Design Brief
Research
Generation of Ideas
Development of Ideas
Refinement of Ideas
Evaluation
Presentation
Design thinking
Design Synthesis (Annotations)
Design is an organic thing. There is no one way to design. However, there has been a process that has been mapped. This is called the design process. It is represented in by a circle because having a need leads to a design which can ultimately create a new need. And so, it begins again.
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Take a look at the "Design Process" page under the "Resources" tab
B) Watch the following video located within Edrol to develop and consolidate your knowledge about the Design Process - https://edrolo.com.au/class/783716/lesson/12512/1/
The study notes and quizzes are great to help support you in this process.
AREA two - Characteristics of Design Fields
AREA two - Characteristics of Design Fields
KEY TERMS
KEY TERMS
Communication
Environmental
Industrial
CHARACTERISTICS OF DESIGN FIELDS
CHARACTERISTICS OF DESIGN FIELDS
As you know each field of design has similarities with others. Each works to innovate in their field.
However, there are differences between them.
A graphic designer communicates different information differently from an architect. In addition, they learn and use different methods and skills.
To the right is a picture to show how three design fields converge and yet remain separate, at the same time.
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Take a look at the "Design Fields" page under the "Resources" tab
B) Watch the following video located within Edrolo to develop and consolidate your knowledge about the three Design Fields - https://edrolo.com.au/class/783716/lesson/12514/2/
The study notes and quizzes are great to help support you in this process.
AREA Three - rOLES AND RESPONSIBILITY
AREA Three - rOLES AND RESPONSIBILITY
KEY TERMS
KEY TERMS
Designer
Client
Specialists and what they do
communication
collaboration
In this area of study, we work with some key terms. The ones shown above refer to people who have different jobs (roles and responsibilities) during the design process.
A client is the owner or commissioner of a communication need
A designer is a thinker, innovator, arranger, creator, author, artist, technician and communicator.
A specialist is a person who has equipment and resources and/ or knowledge and skills beyond that of a designer, whom the designer employs to build overall capacity in the development, refinement and/ or resolution of a design solution
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about Roles and Responsibility industry - https://edrolo.com.au/class/783716/lesson/12513/3/
The study notes and quizzes are great to help support you in this process.
A. ROLE AND RESPONSIBILITY OF THE CLIENT
A. ROLE AND RESPONSIBILITY OF THE CLIENT
The client can be:
• government
• commercial
• private
• an organisation
Responsibilities:
Regardless of where or who the designer works for, designer and client have an obligation to set clear expectations and limitations in the brief. This should include budget and timeline, aesthetic and stylistic considerations.
B. ROLES AND RESPONSIBILITIES OF THE DESIGNER
B. ROLES AND RESPONSIBILITIES OF THE DESIGNER
Work setup for designers
Work setup for designers
Freelance designer:
Freelance designer:
A designer who runs their own business/self employed. They will liaise with the client to create the brief. As technology has changed, working from home is more prevalent.
In-house designers:
In-house designers:
Designers who work permanently with one employer. Government entities such as the National Gallery of Victoria have in-house designers who co-ordinate with their marketing, publications, brand identity, signage, and packaging.
A design studio:
A design studio:
Designers who work together in a studio practice. This workplace may have a range of specialists. They tender for large projects.
Professional practice in teams
Professional practice in teams
Team leaders:
Team leaders:
Project managers or team leaders for large works are necessary to ensure work is on time and reaches the necessary standards. They:
• communicate between client and designers.
• assemble specialists and give guidance.
• are good team leaders with wide experience of the type of design.
• monitor the quantitative and qualitative achievements of the team.
Art directors:
Art directors:
Creative directors advise others who develop artwork and layouts as magazines and newspapers need art directors to create visual style. They determine the overall design of a project.
C. ROLES AND RESPONSIBILITIES OF DESIGN SPECIALISTS
C. ROLES AND RESPONSIBILITIES OF DESIGN SPECIALISTS
SPECIALISTS EXPLAINED
SPECIALISTS EXPLAINED
On the right you will find a link to a brief presentation about specialists in the design process. Click to watch. Each slide goes for 25 seconds.
Industrial Designers Work With:
Manufacturers
Engineers
Toolmakers
Materials experts (e.g. on plastics)
Communication Designer Work With:
printers
material expert (stock)
photographer
video artist
typographer
illustrator
silk-screen printer
animator
wed designers
Environmental Design Architects work with:
• Land surveyor
• City planner
• Structural engineer
• Civil engineer
• Archaeological consultant
• Heritage assessor
• Ecologically sustainable developer
Interior designers work with:
• Sound expert
• Lighting expert
Landscape designers work with:
• Horticulturalist
• Tradespeople
class Task
class Task
With the support of the videos above and your textbook pages (242-260) research and fill in the table for each design field. You will each be given two questions each.
AREA four - how designers work
AREA four - how designers work
KEY TERMS
KEY TERMS
a) Practice
b) Processes
c) Collaboration
d) Design Decision
e) Evaluating Techniques
A) PRACTICE
A) PRACTICE
Work practices are what designers do in the course of their work.
This includes:
• writing briefs.
• liaising with experts and specialists when they need advice.
• pitching
B) PROCESSES
B) PROCESSES
Processes are usually defined in terms of steps. A design step involved with collaboration may be as simple as creating a PDF (portable document format) to share files so that fonts and layout can be seen correctly on another designers or client’s device. Files may be zipped for ease of sharing. Spreadsheets and video conferencing are examples of ICT that make communication efficient.
C) COLLABORATION
C) COLLABORATION
Collaboration in studio teams
Collaboration in studio teams
Studio teams brainstorm, critique, share facilities, and share knowledge as a form of collaboration in their practice.
Studio teams may include: • video specialists. • animators. • photographers and editors. • digital and web designers.
All of whom often work alongside other designers. They have specific equipment and skills in order to make a promotion on the web, or in print, look professional for the client, or their clientele
The web and digital design
The web and digital design
Digital designers often work with a team. They are part of the communication design field as they mainly work with text and layouts.
Digital designers may work on the style of a website, and subcontract tasks, as their work area involves a broad range of skills from illustration to video and sound.
Other professionals they may work with in preparing specific website material include multimedia specialists, copywriters, sound recordists, and animators.
Collaboration across design fields
Collaboration across design fields
AS1100 provides a visual language for technical drawings. Australian engineers, architects, designers, surveyors and patternmakers all know and use this language, making it easier for them to work together.
Architectural models for scale and context, and prototypes for explicit form and detail, are generally made by architects and industrial designers, respectively
Certain job areas have an obvious collaborative design connection. For example: • architecture with interior design and landscape designers. • interior designers with interior decorators. • interior decorators with artists and furniture makers.
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about collaboration in industry - https://edrolo.com.au/class/783716/lesson/12517/1/
The study notes and quizzes are great to help support you in this process.
D) DESIGN DECISIONS
D) DESIGN DECISIONS
Factors Influencing Design Decisions
Factors Influencing Design Decisions
All designers make deliberate decisions during the design process in order to bring their concepts closer to meeting the objectives (audience, purpose, context, constraints, expectations, presentation format) contained in the brief. That’s natural, they won’t get paid if they don’t satisfy the brief!
Our job is to identify decisions designers may have made based on the appearance, function, sustainability, cost and legality of a design.
This is not so easy but here are four strategies we can put in place.
The elements and principles of design, materials, methods and media used all communicate ideas and contribute to the aesthetic quality of a design
The elements and principles of design, materials, methods and media used all assist or detract from the function of a design
Members of society, target audiences and clients each have opinions about society, culture, ethics and care for the environment. If a designer is able to produce a visual communication so that it aligns with these people’s expectations then it is more likely to meet the requirements of the brief
Minimizing the cost of production or manufacture and distribution has a major impact on a design’s ability to meet the expectations of a brief. As do correct and expedient management of legal (trademark, copyright, IP, design registration, licenses, etc.,) requirements. Ignoring these important components of the design industry practice at the very least results in increased costs for a client and in the worst case, the litigation of the designer and/ or client.
Therefore, decisions made by designers are strongly motivated by these four considerations. We just have to spot them.
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about Design Decisions. The study notes and quizzes are great to help support you in this process.
B) Take a look at the "Aethetics" page under the "Resources" tab
How to Designers Test Designs?
How to Designers Test Designs?
When a mock-up, prototype or product is made it needs to be tested and evaluated against the constraints and expectations of a design brief. There are many ways for designers to test ideas. Some tests are formative (to give information about how to improve a design) and some are summative (to find out if a design works). Tests can be performed to the client, other designers in the studio, sample audience members, real audience members.
Some ways to test and evaluate designs include;
Pitching them to a client
Place the design in a real context and test it against a criteria-based score sheet with real or simulated audience members
Convene focus groups comprised of designers or real or simulated audience members
Market research surveys
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about how designer evaluate. The study notes and quizzes are great to help support you in this process.
B) Take a look at the "Design Thinking" page under the "Resources" tab
C) Using the information above create a flow chart that includes the following:
The Design Process
The Roles and responsibilities of the Participants in the design process
Design Decisions
Please note you will need to describe each part of the process and outline the roles and responsibilities of each member.
Please note you can use any program to complete the flowchart (Microsoft Word or Illustrator)
Design Process Roles and Responsibilities.docxArea Five - FORCES THAT SHAPE DESIGN
Area Five - FORCES THAT SHAPE DESIGN
KEY TERMS
KEY TERMS
Social
Cultural
Ethical
Legal
Financial
Environment
Our next section will focus on factors that shape design. These are aesthetic, functional needs of a brief as well as social, cultural, economic, financial and legal considerations.
All designers make deliberate decisions during the design process in order to bring their concepts closer to meeting the objectives (audience, purpose, context, constraints, expectations, presentation format) contained in the brief. That’s natural, they won’t get paid if they don’t satisfy the brief!
Our job is to identify decisions designers may have made based on the appearance, function, sustainability, cost and legality of a design. This is not so easy but here are four strategies we can put in place.
The elements and principles of design, materials, methods and media used all communicate ideas and contribute to the aesthetic quality of a design
The elements and principles of design, materials, methods and media used all assist or detract from the function of a design
Members of society, target audiences and clients each have opinions about society, culture, ethics and care for the environment. If a designer is able to produce a visual communication so that it aligns with these people’s expectations then it is more likely to meet the requirements of the brief
Minimizing the cost of production or manufacture and distribution has a major impact on a design’s ability to meet the expectations of a brief. As do correct and expedient management of legal (trademark, copyright, IP, design registration, licenses, etc.,) requirements. Ignoring these important components of the design industry practice at the very least results in increased costs for a client and in the worst case, the litigation of the designer and/ or client.
Therefore, decisions made by designers are strongly motivated by these four considerations. We just have to spot them.
BRIEF HISTORY OF HOW DESIGN BEGAN
BRIEF HISTORY OF HOW DESIGN BEGAN
A history of design usually starts at ancient cave painting. This is because this marks the beginning of humans recording their ideas and experiences. The first recordings were not in writing but in pictures. Enter visual communication.
However, cave painting is not relevant for this outcome. What is relevant to our understanding of design is being able to split two human practices. These are thinking and making.
One of the most important events in human history, and hence our understanding of the birth of design, is the Industrial Revolution. This took place from the late 1700s and lasted until mid 1800s. It is important to us because the Industrial Revolution brought about change in who was involved in the two processes – thinking and making. Before this revolution, people lived in villages and towns which were largely self-sufficient. Each village had a collection of small practical businesses including blacksmiths, furniture makers, etc. A key characteristic of the ways these businesses worked was that the person who had the tools and skills to work hot steel (blacksmith) was the same person who decided what was being made and what shape it would take. That is; the designer and the maker were the same person. Designs were largely conceived in the context of how they would be made and used.
The social and economic change brought about by the introductions of steam powered machines led to the creation of factories and movement of large quantities of people into cities to work the factories. Apart from the way this changed human interaction, building things in factories with machines meant that businesses needed two kinds of people. Firstly, they needed people who could think up new products and they needed people who could make them. Thus, the designer and the maker became two different people and the field of design was born. The designer is a thinker and the maker is a doer.
This is not the end point for design. It is only a stage in its evolution. The process of environmental design, where the people who design are different from those who excavate and build is ancient. Industrial design as a profession was born of the Industrial Revolution. Communication design emerged with the proliferation of products that needed differentiation and brand recognition as a result of large stores setting up in developing cities like London and Paris in the late 1800s.
The first Industrial Revolution was about steel and steam power. The second seen largely in the late 19th and early 20th century is about electrification and assembly line manufacture. The Third Industrial revolution is of course, the digital and nuclear revolution, which took place in the latter years of the 20th Century.
If designers in the mid 20th century were concerned with things like getting a rocket to the moon, making cars that look like planes, chairs that look like sculptures, public housing schemes that fit the most people in the smallest space and pens that can write upside down, what are today’s designers concerned with?
The question is, what will design look as we enter the fourth Industrial Revolution? Artificial intelligence, cloud computing, hybrid, convergent media streams, on-line shopping and working from home with Google assistant.
Take a look at these brief videos to understand how design changed in 100 years.
DESIGN IN A NUTSHELL 1-6/6
DESIGN IN A NUTSHELL 1-6/6
Below are a range of simple videos that take us through the wonderful history of design over the last hundred or so years. Watch them all. They give you a good look back so you can think about the future.
The Open Universities Australia.
A. SOCIAL AND CULTURAL FORCES
A. SOCIAL AND CULTURAL FORCES
Does the design make us happy, aid and empower or harm us?
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about Social and Cultural Forces - https://edrolo.com.au/class/783716/lesson/17258/1/
The study notes and quizzes are great to help support you in this process.
Theory summary
Theory summary
Design reflects the zeitgeist; what values, standards and concerns exist in society influences design
Examples of social factors on past design:
Examples of social factors on past design:
• Art Nouveau, early 1900s, a style that reflected society’s desire for ‘the modern’ reacting against Historicism.
• Art Deco style, after Art Nouveau, revealed society’s optimism in the Machine Age.
Social issues influencing designers today:
Social issues influencing designers today:
• Game culture misogyny (dislike of women)
• Euro-centricity (Western bias)
• Gender stereotyping – girls in pink/boys in blue
• LGBTQI identity awareness
• Social media
• Economic situations
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about how Ethical, Financial and Environmental Forces -
The study notes and quizzes are great to help support you in this process.
b) Ethical Summary
b) Ethical Summary
Theory summary:
Theory summary:
Professional designers put their clients’ interests first and respect consumers’ safety. Being respectful to the world around you is ethical.
Examples of ethical behaviour:
Examples of ethical behaviour:
• Ethical designers do not work for two different clients at the same time, where conflicts of interest occur.
• Professional designers do not free pitch, respecting their peers.
Examples of unethical behaviour:
Examples of unethical behaviour:
• Greenwashing – pretending to be environmentally responsible
• Intruding on privacy
• Manipulating an image (in some cases)
• Not attributing someone else’s work
• Planned obsolescence
• Compromising on safety
Examples of ethical factors influencing designers:
Examples of ethical factors influencing designers:
• Furniture makers, fashion designers, and architects are sourcing renewable materials.
• Plantation timber, bamboo, and hemp are purposefully planted, because they grow quickly and use less water.
• Designers may choose to use recycled paper, rather than paper brands that use native forestderived wood.
• Industrial designers are choosing materials that can be easily taken apart, sorted into their constituent parts, and recycled in the product’s end life.
c) Legal Summary
c) Legal Summary
Taking reasonable care with other people’s information and fulfilling contracts and agreements are important in a professional setting.
Example:
Example:
Designs should not breach IP (intellectual property) law.
Specific information is required on food packaging.
Typefaces have licence provisions that must be considered.
Trademarks legally protect business marks or logos.
For sale internationally, labelling must abide by the laws of that country.
Laws protect business, the environment and consumers.
Examples:
Examples:
Toys must comply with standards for mechanical physical properties and flammability.
Laws provide protection to the environment by keeping checks on toxic waste disposal.
Laws protect both workers and consumers.
Risk assessment and hazard identification is mandatory.
Patent laws protect inventions, but small runs (less than 50) are protected under copyright law.
Design protection in Australia exists but requires making an application (with drawings or photos) at IP Australia and the payment of a fee.
For international markets, our products must comply with their laws, regulations and standards
Architects abide by planning and building regulations. Mandated and advisory laws vary according to where and what is built, and whether it is public or private.
Examples:
Examples:
Architects abide by height and setback rules.
Planners may reject designs on style and design considerations.
Regulations for safety – fences for pools.
Architectural plans are covered under copyright.
Access for people with disabilities in government buildings.
d) Financial Summary
d) Financial Summary
Theory summary:
Theory summary:
All designers are committed to making the best product under the budget constraints and must consider financial factors as part of this process.
Examples: Industrial
Examples: Industrial
The flexibility, durability and aesthetic qualities of materials are considered against the costs.
The number of iterations will impact cost.
Transportation needs budgeting.
The cost of the basic material (metals, plastics, wood, composites, ceramics, textiles) is balanced with other cost considerations - ease or difficulty of manufacture.
Examples: Environmental
Examples: Environmental
Giving clients sustainable designs means long term economical savings.
The smaller and simpler the shape of a house on flat solid ground, the cheaper it is to build.
Cost consultants and materials consultants ensure tendering is accurate.
In landscaping, mature plants are expensive and climate suitable plants mean less pesticide and water use.
Stonemasonry wall work – materials, workers wages, infrastructure are costed.
Traditionally, great architects works create a legacy for the wealthy client and can bring in revenue through things like tourism.
Examples: Communication
Examples: Communication
Stock images, font licences and the cost of market research are expensive, and must be offset by the client.
Paperless as much as possible is economic and sustainable.
Graphic designers know the print process, reducing costs.
Print quality, the weight of the paper, binding, and use of images, are all cost considerations.
Australia has a relatively small population. Relying on exports means considering overseas market tastes. USA has different social mores with a tendency to be more didactic than us.
e. Environmental Summary
e. Environmental Summary
Theory summary:
Theory summary:
Climate action involves moving beyond sustainable to regenerative design, involving passive building design. Architects consider embodied energy, which is the energy consumed by all of the processes associated with the production of a building, from the mining and processing of natural resources, to manufacturing, transport and product delivery.
Regenerative design:
Regenerative design:
Regenerative design considers all stages of the design.
It involves using the least toxic materials.
It allows for trees and garden.
It considers water: – Capturing rain, water runoff, – Porous ground areas, – Recycling grey water, – Reducing water consumption
It uses natural elements: – Orientation on site, – Veranda and eaves, – Natural light, – Solar energy
Reusing material helps save embodied energy.
Heating and cooling buildings uses energy that can be reduced by good design.
Sustainable manufacturing processes:
Sustainable manufacturing processes:
Sustainable manufacturing processes are non-toxic, minimise use of resources and aim to create long-lasting products that can be recycled.
Examples of sustainable practice:
Processes are water-wise.
Non-toxic glues and paint are used.
There is no planned obsolescence in good design.
Bamboo is fast to grow. It is being used in everything from textiles to buildings as a more sustainable material
Communication designers
Communication designers
consider the environment when selecting materials and media. Examples of sustainable products for communication designers:
Ethically sourced FSC (Forest Stewardship Council) approved paper.
Non-wood paper alternatives.
Some ink pigment medium emit volatile organic compounds (VOCs). This is a hazard for the printer, and when the paper is discarded, toxins can enter the environment. Organic ink, a soy based ink, is an alternative.
Recyclable plastics.
Biodegradable qualities.
Suitable recycling labelling
TASK
TASK
SAMPLE CASE STUDY:
SAMPLE CASE STUDY:
Read pages 14-18 and answer questions above in your Google Drive
Randal Marsh: The Australian Pavillion China (Environmental Design)
Social, ethical, financial and environmental factors can affect a design or design process. These factors can affect design decisions including the choice of materials, methods and media. Discuss one factor that affected a design decision or choice made by Randal Marsh during the design process of the Expo Pavilion.
When working on the Expo Pavilion, Randal Marsh worked with other designers and/or specialists. Select two designers/specialists and discuss how they would have contributed to the project.
What research/inspiration was used in the design process of the Australian Pavillion? Explain how this is evident in the final design.
CASE STUDY LINK: Environmental Design Example.pdf
Area Six - COPYRIGHT AND INTELLECTUAL PROPERTY LAWS
Area Six - COPYRIGHT AND INTELLECTUAL PROPERTY LAWS
KEY TERMS
KEY TERMS
IP (Intellectual Property)
Types of Intellectual Property - Patents, Trademarks, Design Registration
Branding Guidelines
Copyright
Licensing and Sharing
Our next section will focus on the Laws that support designers
TASK
TASK
TO FORM YOUR KNOWLEDGE AND UNDERSTANDING
A) Watch the following video located within Edrolo to develop and consolidate your knowledge about Copyright and Intellectual Property Law - https://edrolo.com.au/class/783716/lesson/12521/2/
The study notes and quizzes are great to help support you in this process.
A) INTELLECTUAL PROPERTY
A) INTELLECTUAL PROPERTY
Like all professions, the creative industries have rules, laws and ethics controlling how artists, designers, musicians, photographers and writers work.
You will have heard of the word 'copyright' but do you really know what it means? Do you know what protections you have as a creative? Do you know how the work of others is protected?
In this section we will briefly explore the law and obligations around copyright as it pertains to intellectual property (IP) for creatives in A
IP EXPLAINED
IP EXPLAINED
On the right you will find a link to a brief presentation about copyright and IP in the design process. Click to watch. Each slide goes for 25 seconds.
Types of Intellectual Property - Patents, Trademarks, Design Registration
Types of Intellectual Property - Patents, Trademarks, Design Registration
Patents - for Inventions and Prototypes:
Patents - for Inventions and Prototypes:
A patent is a type of legal protection for an invention, granting you the exclusive right to commercialise or license your invention for up to 20 years.
Inventions must meet a set of criteria (new, inventive and useful) in order to be granted a patent.
For example: Dropbox (network folder synchronisation) in 2010; GoPro (harness system for attaching camera to user) in 2004.
Trade Marks for Brands:
Trade Marks for Brands:
A registered trademark protects your brand. – This can include logos, a colour, packaging, and any other aspects unique and distinguishable to a business (e.g. the Cadbury logo and purple colour).
Trademarks that aren’t officially registered can be marked with the trademark symbol ™. It may be regarded as the company’s exclusive mark.
REGISTERING DESIGNS
REGISTERING DESIGNS
Where do you actually go to register a trademark, a design or lodge a patent? What steps have to be followed? How long will it last for?
Press the links on the right to visit these pages.
B) BRANDING GUIDELINES
B) BRANDING GUIDELINES
Brand identity has enormous value to a business, which is why companies register their brand.
Companies have style manuals or style guides to ensure type, layout, colours and logo are consistent and appropriate to various contexts.
A company’s website, phone app, signs and brochures will have a specific look with elements having precise fixed measurements for designers to follow. How images are set amongst text and the look of images are stated in the style manual. Every dimension of the logo, how far it may be placed from borders and images and each aspect of the glyph will be stipulated.
Precise colours match to inks when the logo is printed.
Some companies allow use of their trademark using their guidelines. A designer who has been given permission to use the company’s trademark must follow the style guide.
For Example
For Example
Facebook says “You may only use the approved brand assets that are provided on this site. Consistent use of these assets helps people easily recognize references to Facebook and protect our company trademarks. Any Facebook logos or images found elsewhere on the web are not approved for use.”
C. COPY RIGHT
C. COPY RIGHT
Copyright and moral rights
Copyright and moral rights
The creator’s right to be attributed or credited and the protection of their work from misuse or derogatory treatment is referred to as moral rights whether or not they own copyright.
Whether a student or non-profit organisation, copyright law applies. Students must correctly acknowledge and secure copyright permission (and possibly also ‘moral rights consent’) for any third-party copyright content in their work displayed outside the normal school environment
Copyright sharing and licensing
Copyright sharing and licensing
Apart from creating their own imagery, professionals purchase stock images or look for images in the public domain. Designers must check who owns copyright, buy work if necessary, ask permission to use it, give credit to the creator and use the work respectfully.
Creative Commons aids the sharing of various art/design material. Copyright owners who want to share work choose a CC license showing how their work might be copied.
For example, material released under Creative Commons CC0 license is free for almost any purpose, even commercially, whereas NC means not for commercial use.
CREATIVE COMMONS AND PUBLIC DOMAIN
CREATIVE COMMONS AND PUBLIC DOMAIN
At right are some fantastic resources to help explain Public Domain and Creative Commons.
They are a bit tricky at first. Stick at it.
Press the links on the right to visit these pages and watch the video from creativecommons.org.
Legal Obligations in Australia
Legal Obligations in Australia
TASK
TASK
Task
Task
Using the websites/ videos resources above you are to answer the following questions & create definitions for the following Acts/Creative Commons & Public Domain.
the Copyright Act
the Trademarks Act
the Designs Act
the Patents Act
Creative Commons & Public Domain
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