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A Guide to
Visual
Communication
Design
VCE Units 1–4
Jacinta Patterson
Joanne Saville
SECOND EDITION
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is part of the University of Cambridge.
It furthers the University’s mission by disseminating knowledge in the pursuit of education,

learning and research at the highest international levels of excellence.
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This publication is in copyright. Subject to statutory exception

and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of .
First published 2013

Second edition 2017
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Cover and text designed by Loupe Studio

Typeset by Loupe Studio
Printed in Malaysia by Vivar Printing
A Catalogue-in-Publication entry is available from the catalogue

of the National Library of Australia at www.nla.gov.au
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II viscomm A Guide to Visual Communication Design

Contents
Welcome to viscomm VII

Author profiles IX
Assessment grid X
How to use this resource XVIII
Acknowledgements XX
UNIT 1 Introduction to visual communication design

CHAPTER 1 Drawing as a means of communication 3
1.1 Drawing 4
1.2 Observational drawing: draw what you see 4
1.3 Visualisation drawing: I’ve got drawing on my mind 7
1.4 Presentation drawing 8
1.5 Rendering techniques 15
1.6 Media and materials 20
1.7 Generating and reflecting on ideas 28
1.8 Some last thoughts on drawing 29
IN THE KNOW 1.1: Kimberly Buck, illustrator 30
CHAPTER REVIEW 34
CHAPTER 2 Design elements and principles 41

2.1 The design elements 42
2.2 The design principles 59
2.3 Purposes of visual communications 68
2.4 Refining with the design elements and principles 68
2.5 Copyright and legal obligations 69
CHAPTER REVIEW 70
CHAPTER 3 Historical and cultural practices 77

3.1 Factors that influence visual communication design 78
3.2 Past to present 82
IN THE KNOW 3.1: Paul Rand, graphic designer 96
IN THE KNOW 3.2: David Carson, graphic designer 99
CHAPTER REVIEW 102
CONTENTS III
UNIT 2 Applications of visual communication
within design fields
CHAPTER 4 Technical drawing in context 107

4.1 Two fields of design 108
4.2 The Australian Standards and conventions 108
4.3 Industrial design 108
4.4 Environmental design 119
CHAPTER REVIEW 131
CHAPTER 5 Type and imagery 139

5.1 Typeface classification 140
5.2 Type has history and many stories to tell 140
5.3 Terminology and conventions 145
5.4 Moody type: did you choose the right type? 149
5.5 Layout, grids, type and balance 150
5.6 Styling type with media and materials 152
5.7 Manipulation and digital creation 152
5.8 Copyright and responsible use of digital media 155
CHAPTER REVIEW 156
CHAPTER 6 The design process 165

6.1 The design process model as a framework 166
6.2 The brief 167
6.3 Research and analysis for inspiration 170
6.4 Refinement and presentation 173
6.5 Design thinking techniques 175
6.6 Methods 175
CHAPTER REVIEW 186
IV viscomm A Guide to Visual Communication Design

UNIT 3 Visual communication design practices
CHAPTER 7 Analysis and practice in context 195

7.1 Three fields of design 196
7.2 Design fields and key design features 198
7.3 Analysing visual communication design 201
7.4 Purpose202
7.5 Context205
7.6 Target audiences 206
7.7 Methods, materials and media 208
7.8 Design elements and principles 210
7.9 Analysis in context 211
7.10 Practice in context 217
CHAPTER REVIEW 219
CHAPTER 8 Design industry practice 231

8.1 Roles and responsibilities 232
8.2 Role of the brief 232
8.3 Design decisions 233
8.4 Case studies 233
IN THE KNOW 8.1: Andrew O’Keeffe, Studio Alto 234
IN THE KNOW 8.2: Eirian Chapman, illustrator 239
IN THE KNOW 8.3: Randal Marsh, architect 243
IN THE KNOW 8.4: Anna Muratore, industrial design student 248
IN THE KNOW 8.5: Jesse Leeworthy, memobottleTM 251
CHAPTER REVIEW 255
CHAPTER 9 The brief and generating ideas 259

9.1 Applying the design process to research and
generation of ideas 260
9.2 The brief 260
9.3 Research266
9.4 Generation and recording of ideas 269
CHAPTER REVIEW 273
CONTENTS V
UNIT 4 Visual communication design development,
evaluation and presentation
CHAPTER 10 Development, refinement and evaluation 279

10.1 Applying the design process to development
and refinement 280
10.2 Development of concepts 280
10.3 Refinement289
10.4 Evaluation – the pitch 290
CHAPTER REVIEW 292
CHAPTER 11 Final presentations 299

11.1 Final stages of the design process 300
11.2 Ways of presenting distinctive final visual
communications300
11.3 Ways to gain and maintain the interest
of the target audience 306
11.4 Final presentation submission 307
CHAPTER REVIEW 308
CHAPTER 12 Exam time 313

12.1 Before the exam 314
12.2 During the exam 314
12.3 Specific advice for the Visual Communication
Design exam 315
12.4 The right tools 319
CHAPTER REVIEW 320
Glossary 324
Index 327
VI viscomm A Guide to Visual Communication Design

Welcome to viscomm
Viscomm has been written as a companion Visualisation drawing is a means of

to studying Visual Communication Design recording ideas and imaginative concepts
and addresses the Units and Outcomes from your head:
in a sequential order. The book provides
• a way to assist in generating ideas – you
the necessary theory that underpins the
can build upon each concept drawn
subject’s VCAA Areas of Study and the end-
• is usually in the form of quick freehand
of-chapter tasks can be used to address the
sketches
Outcomes. Throughout each chapter, there
• drawings can be two dimensional (2D) or
are many extra activities and inspirational
three dimensional (3D) and may include
visual imagery that can be used to launch
the use of drawing systems to assist in
a folio concept.
explaining an idea
• may include explanatory diagrams.
THREE AREAS OF DRAWING

Presentation drawing means finished
Drawing underpins everything in this
drawings, design concepts and/or solutions:
study. It is often the first thing you
will do when starting a project in class • is ready for submission to a client or
or undertaking research for a design your teacher
process. Drawing is a way that designers • means that drawings and concepts
communicate. Throughout the study of have been fully refined and resolved
visual communication design you will use • may include manual or digital media
the three drawing methods listed below. methods.
These types of drawing can be completed
manually or digitally depending on the task
provided by your teacher or the needs of CROSS-STUDY SPECIFICATIONS
your brief. The cross-study specifications is where course
content that applies to all four units within
Observational drawing means drawing the study design is located. This information
what you actually see: is important and can be examined.
• used to represent form, texture and

Designing and making visual
materials of an object
communications
• can assist in showing the function,
The following information provides you
proportion and scale of an object
with the vital ingredients that are used
in relation to other objects and/or
when designing and creating visual
environment
communications. It is essential that you
• can be quick freehand drawings or
learn these terms, as using the correct
longer studies.
terminology is important in the end-of-year
examination, completed at the end of Unit 4.
Welcome to viscomm VII

• Methods The methods for this subject Design thinking
include: drawing, painting, printmaking, Design thinking underpins the design
printing, photography, computer, collage process. This study looks at creative, critical
and 3D process and reflective design thinking. Creative
• Media Manual and digital media thinking may be used when starting the
• Materials Manual and digital materials design process and generating ideas. Critical
• Design elements Point, line, shape, form, thinking may be used when developing and
tone, texture, colour, type refining to assist in making critical choices
• Design principles Figure/ground, balance relevant to the brief. Reflective design
(symmetrical and asymmetrical), thinking may be used at the refinement
contrast, cropping, hierarchy, scale, stages to ensure that choices made truly
proportion, pattern (repetition and resolve the design problem. However, any of
alternation) these types of design thinking can be used
• Final presentations Includes two- and when required.
three-dimensional presentation formats
and manual and digital presentations Design fields
This study looks at three fields of design.
Design process Environmental design is the design of the
You will use a design process when creating built environment, industrial design is the
visual communications. The model, shown design of products and communication
below, is unique to Visual Communication design is visual information that
Design and differs in areas to other communicates messages or ideas. Each
processes undertaken in other VCE subjects. design field has its own language, specific
It is important that you refer to the correct drawing methods and practices. Each field
key stages; for example, when responding to has different specialists that work with
a brief, labeling pages in a visual diary and designers to meet the requirements of a brief.
answering questions in an examination.
Intellectual property and copyright
The process is not a linear one, rather you
All designers and design students need to be
should to return to different stages when
aware of IP (intellectual property) and legal
required to assist in resolving problems.
obligations associated with copyright. This
information is now relevant to all four units
in the Visual Communication Design study
design. You will study associated content
progressively through the study design
units and will need to acknowledge sources
of inspiration and resources from Unit 1
onwards.
The Visual Communication Design process model (VCAA Study Design, © VCAA)
VIII viscomm A Guide to Visual Communication Design

Author profiles
JACINTA PATTERSON JOANNE SAVILLE
B.Ed. (Visual Arts), Grad.Dip.Ed. Dip.T., B.Ed., Grad.Dip.Ed.

(Graphic Communication), M.Ed. (Graphic Communication)
Jacinta Patterson is an experienced Visual Joanne Saville has been teaching in the
Communication Design teacher who has visual arts for over 20 years. She has taught
taught in a variety of independent and Art, English and Visual Communication
Catholic secondary schools. She is currently Design in a number of Catholic and
the Head of Art and Design at The Ivanhoe independent schools. Currently Head of
Grammar School. Jacinta has significant Creative Arts at Genazzano FCJ College
experience with curriculum development in Kew, she has successfully established
and design including working in the roles a vibrant and diverse creative arts
of Panel Chair and Chief Assessor for the curriculum including introducing visual
Victorian Curriculum and Assessment communication design, media, and design
Authority (VCAA). She is an active member and technology while in this role. Joanne has
of Visual Communication Victoria (VCD been an exam panel member, assessor and
Teachers Association), presenting at both deputy chief examiner for the VCAA Visual
their Units 1–4 seminars and annual Communication Design exam. A member
conferences. Jacinta has assisted in running of Visual Communication Victoria, Joanne
presentations for teachers on the Unit 3 has participated in conferences and
and 4 folio for the VCAA and is actively actively contributes to the development
involved with the Top Designs program. of curriculum and assessment of Visual
Jacinta lives with three growing boys, her Communication Design. Her other passions
amazing husband and an over-indulged are her family and travel. Joanne has
cat called Perdicia. She would like to successfully introduced an overseas tour
acknowledge the generous and creative for the Creative Arts students at Genazzano
partnership with her co-author Joanne to New York City and Washington, DC,
Saville and all of the talented students where design and art are embedded into
at Ivanhoe Grammar School. To be part those cities’ cultures. On weekends and
of these students’ education is nothing after hours away from work, Joanne enjoys
short of spectacular. Gratitude and much spending time with her husband, son and
appreciation is felt towards both the editor, daughter as well as walking her dog.
Greg Alford, and Alexandra Kolasinski at ,
for nothing gets past their eyes. Jacinta
would also like to acknowledge her true
partner in crime – Harriet Jordan. Harriet
makes the dream of a book come true.
AUTHOR PROFILES IX
Assessment grid
Area of Outcome Task Key skills Chapter

Study & page
number
UNIT 1
Area of Outcome 1 THE USB Students will: Chapter 1

Study 1 Page 37
On completion of This task asks students to: • apply design elements and
Drawing as this unit the student • respond to a given brief design principles to communicate
a means of should be able to • design with a target audience ideas and functions of
communicating create drawings for in mind objects and structures
different purposes • undertake research, including • apply drawing methods that
using a range of collect a range of existing are suitable for the purposes
drawing methods, designs of observation, visualisation
media and materials. • complete observational drawings and presentation
• use scale and graph paper • use manual and/or digital
• use visualisation drawing methods to create drawings
• use design thinking strategies for different purposes
• complete a third-angle • apply three-dimensional drawing
orthogonal drawing with methods to represent the form
dimensions and structure of objects
• complete perspective drawings • apply two-dimensional drawing
• complete rendering methods to depict objects
• complete presentation drawings. from and in multiple views
• select and apply media,
materials and techniques to
draw and render forms
• apply design thinking to
generate alternative ideas and
reflect on their suitability.
X viscomm A Guide to Visual Communication Design

Area of Outcome 2 PROJECT A – FOR THE LOVE Students will: Chapter 2
Study 2 OF CHARLEY HARPER Page 72
On completion of • apply techniques to generate
Design elements this unit the student PROJECT B – ODE TO NOMA alternative design possibilities Page 74
and principles should be able to BAR • use appropriate drawing
select and apply methods to generate visible
Both of these tasks ask students to:
design elements and ideas and develop concepts
• analyse the work of existing
design principles • select and apply different design
designers and understand
to create visual elements and design principles
how the design elements and
communications when generating and developing
principles are used in successful
that satisfy the alternative design options
visual communications
stated purposes. • use selected manual and digital
• create a poster as a final
drawing methods, media and
presentation using digital
materials appropriate to visual
methods
communication purposes
• generate ideas
• refine and present visual
• use design thinking strategies
communications to meet
• explore manual methods, such
their stated purposes
as watercolour techniques, that
• apply practices that fulfil
can be scanned and used in the
legal obligations in visual
creation of a digital presentation
communications when using
• evaluate concepts.
images belonging to others.
Area of Outcome 3 POLITICALLY, SOCIALLY AND Students will: Chapter 3

Study 3 CULTURALLY MOTIVATED Page 104
On completion of • describe visual communications
DESIGN
Visual this unit the student in terms of their social
communications should be able to Students research and analysis the and cultural settings
in context describe how visual graphic design work of El Lissitzky • identify the connections between
communications and Noma Bar. past and contemporary visual
in a design communications practices
Students are required to outline the:
field have been • describe visual communications
influenced by past • purposes in terms of how manual
and contemporary • methods and digital methods, media,
practices, and • media and materials materials, design elements,
by social and • significant design elements and design principles and
cultural factors. principles presentation formats are applied
• use and influence of current • use appropriate terminology.
technologies (technologies of
the time) on the design process,
including the production of final
presentations
• messages and/or information
being conveyed.
ASSESSMENT GRID XI
UNIT 2
Area of Outcome 1 THE SHIPPING CONTAINER Students will: Chapter 4

Study 1 PROJECT Page 134
On completion of • apply drawing methods that
Technical this unit the student Students will: are suitable for presentation
drawing in should be able to drawings and the selected field
• select a client and target
context create presentation • use manual and digital methods
audience
drawings that to create presentation drawings
• research existing architectural
incorporate relevant • select and apply technical
projects that incorporate
technical drawing drawing conventions used
shipping containers
conventions with presentation drawings
• brainstorm ideas
and effectively appropriate to the selected field
• complete exercises in
communicate • select and apply two-
measurement and scale.
information and and three-dimensional
• use visualisation drawing to
ideas for a selected methods to represent form,
generate ideas
design field. proportions and scale.
• complete a floor plan with
dimensions using manual
or digital methods. Add the
elevations and correct labels and
title block.
• complete a planometric drawing
of the shipping container using
either manual or digital methods
• complete a perspective drawing
of your shipping container in
context
• complete a scaled model using
white card or balsa wood.
XII viscomm A Guide to Visual Communication Design

Area of Outcome 2 TYPE AS AN IMAGE Students will: Chapter 5
Study 2 Page 160
On completion Students will: • describe and analyse the
Type and of this unit the connections between past and
• look at the conventions of type
imagery student should be contemporary typography
• design four different panels that
able to manipulate • analyse the use of type in
use type to illustrate a phobia
type and images visual communications
• use four different techniques to
to create visual • generate ideas using imagery
generate and manipulate type
communications and text and reflect on suitability
using Adobe® Photoshop® and
suitable for print of conceptual options
Illustrator®
and screen-based • manage files and apply
• look at ways to combine type
presentations, techniques to manipulate
to create images that make
taking into account type and images using digital
connections or meanings.
copyright. design technologies
• select and creatively use
appropriate media, materials,
methods, presentation formats
and conventions to suit a range of
communication design purposes
• apply practices that fulfil legal
obligations when using existing
typefaces and imagery.
Area of Outcome 3 SEED PACKAGING Students will: Chapter 6

Study 3 Page 189
On completion of Students will: • research and analyse information
Applying the this unit the student relevant to a given brief
• respond to a given brief
design process should be able to • apply and document design
• design final presentations for
apply stages of thinking when engaged
a target audience
the design process in the design process
• consider an environmentally
to create a visual • use freehand visualisation
friendly design process
communication drawings and annotations
• conduct research
appropriate to to make ideas visible
• generate ideas
a given brief. • develop design concepts using
• develop two concepts
suitable manual and digital
• complete refinement of concepts
methods, media and materials
• produce final presentations.
• evaluate the suitability of design
ideas and concepts in terms of
the requirements of the brief
• select and use a range of
appropriate manual and
digital methods, media,
materials, design elements
and design principles
• apply techniques to refine and
present visual communications
legal obligations when
using the work of others
• use appropriate terminology.
ASSESSMENT GRID XIII

UNIT 3
Area of Outcome 1 PAVILIONS Students will: Chapter 7

Study 1 Page 221
On completion of • analyse
Students will complete three projects, addressing
Analysis and this unit the student both analysis and practice in context in three existing visual
practice in should be able different fields of design. communications
context to create visual in terms of their
PROJECT A
communications for key features in the
Environmental design – Analysis in context:
specific contexts, three design fields
purposes and • target audiences • methods • make and document
audiences that • purposes and • media and materials design decisions
are informed by contexts • final presentations that are informed
their analysis of by the analysis
Environmental design – Practice in context:
existing visual of existing visual
• target audiences • floor plans and
communications communications
• purposes and elevations
in the three and the connections
contexts • scale and
design fields. between them
• visualisation measurement
• select and apply
drawings • planometric drawing
drawing methods
• presentation formats • perspective drawing
and technical
PROJECT B drawing conventions
Communication design – Analysis in context: appropriate to
different purposes,
• target audiences • methods
audiences and
• purposes and • media and materials
contexts
contexts • final presentations
• select and apply
Communication design – Practice in context : a range of design
elements, design
• target audiences • type: conventions,
principles, manual
• purposes and characteristics and
and digital
contexts anatomy
methods, materials,
• visualisation • grids and layout
conventions and
drawings • design elements and
media appropriate
• presentation formats principles
to different
Project C purposes, audiences
Industrial design – Analysis in context and contexts
• use appropriate
• target audiences • methods
terminology.
• purposes and • media and materials
contexts • final presentations
Industrial design – Practice in context
• target audiences • third angle orthogonal

• purposes and drawings with
contexts dimensions
• visualisation • isometric drawings
drawings • perspective drawings
• presentation formats • rendering
XIV viscomm A Guide to Visual Communication Design

Area of Outcome 2 THE DESIGN INDUSTRY Students will: Chapter 8
Study 2 Page 256
On completion of Students prepare a written • describe the roles and
Design industry this unit the student report with visual information relationships between designers,
practice should be able to that discusses the work of three specialists and clients in the
discuss the practices contemporary designers from communication, industrial and
of a contemporary communication, environmental environmental design fields
designer from each and industrial design. • discuss the practices,
of the design fields techniques and processes used
and explain factors by designers in establishing
that influence briefs and in designing and
these practices. producing visual communications
that fulfil clients’ needs
• explain how design decisions are
influenced by a range of social,
cultural, ethical, legal, financial
and environmental factors
• identify practices that
acknowledge ethical and
legal obligations
Area of Outcome 3 TASK A: COMMENCING THE Students will: Chapter 9

Study 3 BRIEF Page 275
On completion of • apply design thinking to create,
Developing this unit the student TASK B: AUDIENCE PROFILE analyse, evaluate, reflect on, and
a brief and should be able critique information and ideas
9.3 Research – for ways to Page 266
generating ideas to apply design • document a brief that states
start your research, including
thinking in preparing two distinct client needs
observational drawing
a brief with two • access and reference research
communication 9.4 Generation and Recording material from a range of sources Page 269
needs for a client, of Ideas – for ways to start your • synthesise research and
undertaking research generation of ideas investigation findings
and generating • apply freehand drawing and
Students should look at preparing
a range of ideas rendering techniques to
a brief, research and generation
relevant to the brief. represent observations of the
of ideas to satisfactorily complete
form, structure and function
Area of Study 3.
of existing objects and/or
spaces relevant to the brief
• apply visualisation drawing
methods to explore and
generate ideas
• annotate drawings to
explain connections to
the brief and research
ASSESSMENT GRID XV
UNIT 4
Area of Outcome 1 TASK A: DEVELOPING AND Students will: Chapter 10

Study 1 REFINING – A checklist that Page 293
On completion • apply design thinking to support
students can use to assist in
Development of of this unit the the application of relevant
ensuring all requirements of the
design concepts student should be stages of the design process
SAT Folio have been addressed
able to develop • select ideas for development
distinctly different that address the
concepts for each requirements of the brief
communication • select and apply a range of
need and devise manual and digital methods,
a pitch to present materials, media, design
concepts to an elements, design principles,
audience, evaluating presentation formats and
the extent to which conventions to develop concepts
these concepts meet • test and evaluate the suitability
the requirements and quality of concepts
of the brief. • devise and deliver a pitch that
supports the presentation
of refined concepts
• evaluate the quality of
the refined concepts
• evaluate the design process
as a framework for creating
refined concepts
• refine concepts in the light of
evaluation and reflection
• apply techniques to progressively
record decision making
and development of design
concepts for two different
communication needs
legal obligations
XVI viscomm A Guide to Visual Communication Design

Area of Outcome 2 EVALUATION OF FINAL Students will: Chapter 11
Study 2 PRESENTATIONS – A checklist Page 311
On completion of • select suitable presentation
that can be used to assist in
Final this unit the student formats that meet the
completing the final presentations
presentations should be able to requirements of the brief
produce a final visual • select and apply a range of
communication methods, materials, media,
presentation for design elements, design
each communication principles, presentation
need that satisfies formats and conventions, if
the requirements appropriate to the brief, to
of the brief. develop final presentations
• create presentation formats
for final visual communications
to fulfil the requirements of
two communication needs.
End of year Exam tips A series of tasks that students Chapter 12

exam can use to commence their exam Page 320
preparation. Includes:
• multiple-choice questions
• short and extended questions.
ASSESSMENT GRID XVII

How to use this resource
Chapter openers Embark

Each chapter of viscomm begins with For those times when the first step is the
a double-page spread that contains hardest to take, Embark provides possible
a chapter overview and list of the key directions and ideas for new projects.
knowledge points covered.
Instruct Glossary terms

Instruct provides you with guidelines to All the key terms in each chapter (along
help you develop the skills and knowledge with many more) are defined for you in the
required to meet the Outcomes of the Visual margin of the print book, or as pop-ups in the
Communication Design course. interactive version. They are also gathered in
the Glossary at the end of the book.
Discover
Additional reading or helpful sources you
can use to improve your knowledge, skills
or understanding of visual communication
design. It includes books, journals, locations
and websites.
XVIII viscomm A Guide to Visual Communication Design

In the know … End-of-chapter sections
‘In the know …’ provides you with insights At the end of each chapter you will find
and information on designers and the a chapter summary, a set of multiple-
design industry through interviews and choice questions and a series of tasks that
case studies. address the VCAA Outcomes and help you
consolidate your learning from the chapter.
Video and audio Help sheets

The Interactive Textbook contains video Step-by-step instructions for a number of
and audio items to enrich the learning tasks and processes (including software
experience. usage) are available as PDF downloads.
Interactive activities Downloadable Word documents

Also included in the Interactive Textbook All activities and end-of-chapter questions
are automarked activities (e.g. drag and are available as downloadable Word
drop questions) to assist recall of facts and documents, which can be accessed from
understanding of concepts. within the Interactive Textbook or via
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this book, go to www.cambridge.edu.au/viscomm2
HOW TO USE THIS RESOURCE XIX

Acknowledgements
The authors and publisher would like to thank Rimma Campos for kindly reviewing this book and providing
feedback.The author and publisher wish to thank the following sources for permission to reproduce material:
Images: © Getty Images / Ilyalisse, Chapter 1 Opener / Yagi Studio 1.33 / Phil Clark, 1.34 / MoMorad, Chapter
2 Opener / filo, 2.4 / artvea, 2.5 / James Moorhead, 2.6 / bubaone, 2.12 / YU22, 2.14 / Mark Murphy, 2.14 (l) /
RusselltatedotCom, 2.14 (r) / Yury Prolopenko, 2.18 / SireAnko, 2.19 / Encyclopedia Britannica, 2.38 / Universal
History Archive, 2.55 / Yan Cao, 2.58 / Movie Poster image Art, 2.61(b) / korhankaracanUniversal History
Archive, 2.63 / Yana Bukharova, 2.47 / Mint Images, 2.81 / Gregory Adams, Chapter 3 Opener / Paul Ellis, 3.1
/ Heritage Images, 3.5, 3.7, 3.15 / Richard Barker, 3.8 / Awakening, 3.10 / Martyn Goddard, 3.11 / Mondadori
Portfolio, 3.17 / Sean Galup, 3.18 / Sovfoto, 3.20 / Poster by Joseph Binder LLC/Corbis via Getty Images, 3.24(l)
/ John McDougall, 3.25 / Gjon Mili, 3.28 / Apic Hulton Archive, 3.30 / Movie Poster Image Art, 3.32 / Hulton
Archive, 3.33 / Romano Cagnoni, 3.34 / Peter Dazeley, 3.37 / Keystone-France, 3.38 / Gardel Bertarand, 3.39 /
Londely Planet, 3.40 / percds, 3.42 / itskatjas, 3.43 / bortonia 3.45 / Atli Mar Hafsteinsson, 3.48, 3.49 / Eclectic_
Crayon, 3.50 / tomograf, 3.51, 3.53 / AlexanderZam, 3.52 / Czgur, Unit 2 opener / William Andrew, 4.1 / Siedi
Preis, 4.24 / carduus, 4.25 / Kat Chadwick, 4.33 / SireAnko, 4.35(r), 4.35(l), 4.40, 4.47 / Atw Photography, 4.35 (l)
/ JDawnInk, 4.48 / fenix1984, 4.52 / ThreeDiCube, 4.52 / k4-Z-0o, p.131(r) / Indeed, p.131 (l) /Floortje, p.132 /
Sky Noir Photography by Bill Dickinson, Chapter 5 Opener / Bloodlinewolf, 5.2 / Apic, 5.6 / Movie Poster Image
Art, 5.7 / J614, 5.29 / Adam Lucy, Chapter 6 Opener / Derek Meijer, Chapter 7 Opener / Irena Sophia, Ch7
Design Features Activity (1-l) / Hufton & Crow, Ch7 Design Features Activity (1-r) / leongoedhart, Ch7 Design
Features Activity (2-l) / SireAnko, Ch7 Design Features Activity (2-r) / exi5 / Ch7 Design Features Activity
(3-l) / Brett Stevens, Ch7 Design Features Activity (3-r) / filo, 7.8 / Jeff Greenberg, 7.9 / Peter John Dickson,
7.10 / Lynn Gail, 7.12 / Bloomberg, 7.13 / Shanna Baker, 7.14 / pablofdzr, 7.16 / Roberto Machado Noa, 7.17 /
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Chesnot, p.219(l) / LokFung, p.219 (r) / Jessica Durrant, p.220 (t-l) / View Pictures, p.220 (t-r) / Chicago History
Museum, 7.38, 7.39 / NatanaelGinting, Chapter 8 Opener / NatanaelGinting, Chapter 9 Opener; Alan64,
Unit 4 Opener / Dimitri Otis, Chapter 11 Opener / Oli Kellett, Chapter 12 Opener / Movie Poster Image Art,
p.323; Art direction & design by 3 Deep. Portrait by Robert Knoke, 1.5; Adobe product screenshot reprinted
with permission from Adobe Systems Incorporated, 2.40; Courtesy of Pantone, LLC, a subsidiary of X-Rite,
Incorporated, 2.42; Reproduced by permission of the NGV and Studio Round, 2.48; Courtesy of Love Police
ATM. 2.50; Courtesy of Jonathon Yule, 2.52, p.70; © Charley Harper, 2.83; © Charley Harper Art Studio, World
Rights Reserved, 2.84; Courtesy of Australia Post, 3.2; Advertising Archives / AAP One, 3.3, 3.4, 3.6(l), 3.6(r);
Image courtesy of Lauder & Howard, 3.13; Poster advertising trains to Monte Carlo, Monaco, 1897 (colour
litho), Mucha, Alphonse Marie (1860-1939) / Mucha Trust / © Bridgeman Images, 3.14; Kleine DADA Soiree,
1923 (colour litho), Schwitters, Kurt (1887-1948) & Doesburg, Theo van (1883-1931) / Art Gallery of New
South Wales, Sydney, Australia / © Bridgeman Images, 3.16; (c) by yienkeat / Shutterstock, 3.24(r ) / Bauhaus
Exhibition Poster, 1923 (colour litho), Schmidt, Joost (1893-1948) / Private Collection / De Agostini Picture
Library / © Bridgeman Images, 3.25; Source Air France Museum Collection. Artist Guy Georget, 3.31; Courtesy
of Peter Saville Studio, 3.29; Paul Rand Papers (MS 1745). Manuscripts and Archives, Yale University Library,
3.36; © Andia / Alamy,, 3.35; © imagebroker / Alamy, 3.35; © Valentino Visentini / Alamy, 3.35; Reproduced
by permission of David Carson, 3.44; © International Olympic Committee. Reproduced by permission, 3.46;
© John Gollings, 4.34; © Interfoto / Alamy, 5.5; © Tim & Ed, 6.18; © McBridge Charles Ryan, 7.26; Paper Tiger
Stool designed by Anthony Dann, 7.27, 7.37, 7.36; © Andrew O’Keefe, 8.1, p.233(t-l), 8.2-8.5, 8.7-8.13; © Eirian
Chapman, 8.15-8.19; © Wood & Marsh, 8.20-8.27; Memo Bottles, © Jesse Leeworthy & Jonathan Byrt, 8.34,
8.35, 8.37-8.42; © Facebook, used with permission, 11.2.
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XX viscomm A Guide to Visual Communication Design

Introduction
UNIT 1 to visual
communication
design
AREA OF STUDY 1 Outcome: On completion of this

unit the student should be able
Drawing as to create drawings for different
a means of purposes using a range of drawing
communication methods, media and materials.
AREA OF STUDY 2 Outcome: On completion of this

unit the student should be able to
Design elements select and apply design elements
and principles and design principles to create
visual communications that satisfy
the stated purposes.
AREA OF STUDY 3 Outcome: On completion of

this unit the student should
Visual be able to describe how visual
communications communications in a design field
in context have been influenced by past and
contemporary practices, and by
social and cultural factors.
Drawing as
CHAPTER a means of
1 communication
UNIT 1, AREA OF STUDY 1
‘It takes a lifetime to learn how to draw like a child.’
Picasso said it. Shaun Tan uses it as his motto. Drawing,
he says, is about ‘learning how to see’.
(‘Shaun Tan: From Hillarys to Hollywood’, Big Ideas, 19 July 2011, www.abc.net.au)
OVERVIEW KEY KNOWLEDGE:

Drawing is the starting point that • observational drawing methods for the purpose
many designers use after accepting of showing form, proportion, surface textures and
a brief and undertaking research. It relationships between objects
is an ideal way to record ideas and • visualisation drawing methods for the purpose of
inspiration that come from research making visible design ideas and concepts
and is a quick way to generate ideas. • presentation drawing methods for the purpose of
Drawing is a skill that underpins the refining conceptual designs using manual and/or
developing and refining of ideas and digital methods
is a way to represent visualisations. • drawing methods to represent three-dimensional
Observational drawing provides forms, such as paraline (isometric and planometric)
an opportunity to understand and perspective (one and two point)
an object’s form and surface • drawing methods to represent objects two-
textures. Drawing methods such dimensionally (third-angle orthogonal drawing)
as paraline and perspective assist • rendering techniques for depicting the direction
in producing three-dimensional of light, shade and shadow and for representing
drawings that maintain proportions. surfaces, materials, texture and form
This chapter will focus upon three • manual and/or digital methods suitable for creating
drawing methods: observational drawings
drawing, visualisation drawing • a range of media and materials to support different
and presentation drawing. This drawing purposes and drawing methods
chapter will assist you in developing • techniques for generating and reflecting on ideas.
your drawing and rendering skills
(VCAA Study Design, © VCAA)
and to use drawing as a means
of communicating ideas and
information.
1.1 Drawing
observational drawing Drawing – it is the skill that is the foundation • visualisation drawings, which are idea
drawing what you see of this study and the way that we begin to drawings or drawings used to show our
visualisation drawings communicate and generate ideas. This study thinking. These drawings can sometimes
drawings that are looks at three types of drawing: be called design drawings.
created when generating
and developing ideas • presentation drawings, which are the
• observational drawings, which can be
at the beginning of the refined, polished and finished drawings.
design process. These seen as tools to record, analyse and
These drawings are ready for scanning,
are drawings from communicate information about natural
the imagination, often to go to print or to be presented to the
and manufactured subjects within design
expressing ideas rather client. Presentation drawings may be
than drawing what one professions.
manually or digitally produced.
can see.
presentation drawings
refined, polished and
finished drawings. These
drawings are ready for
scanning, to go to print
or to be used in a client–
designer meeting.
Figure 1.1 Drawing

from observation,
Patrick Woodward
1.2 Observational drawing: draw what you see
An observational drawing is a drawing taken

from life, not copied from a photograph or
taken from your imagination. The drawing
can be a line drawing or rendered as
accurately as possible to show the form
and texture of the subject. Observational
drawings are useful for showing multiple
view points, proportion and the object’s
relationship to its environment. Regularly
practising observational drawing of
objects in their environment can help
you to appreciate and apply correct
proportion and scale. You will complete
observational drawing as part of your course
when studying Units 1 and 3 of Visual
Communication Design.
Figure 1.2 Observational drawing
4 viscomm A Guide to Visual Communication Design

Ways of drawing by observation
When you are drawing from observation,

look carefully at the environment in which
your object or subject is placed. Study the
shadows cast onto your object and the
ground and look carefully at the direction
that the light is coming from. Perhaps look
at setting up artificial lighting to create
more dramatic shadows and highlights.
Attempt to include other objects in your
drawing as this can assist in judging your
object’s proportions and relative scale and
relationship with other objects. Things to
keep in mind:
Figure 1.3 Observational
drawing can assist in
• Select a subject or object that can
triggering new ideas. The
be viewed first hand. Remember Observational drawings can be a form of observational drawing
that drawing from a photograph, research and an inspirational starting point of the pear was used as
a starting point when
even one you have taken yourself, for future design concepts. They can provide generating ideas for
is not observational drawing. useful reference points about an object or further pear-related
• Look for objects with an interesting subject matter or can be developed further imagery. The new image
incorporates fluid lines
range of different textures and surfaces in the process of visualisation drawings. with torn shapes of
including shiny and transparent The next series of drawings you create may brightly coloured card
surfaces and those with reflections. not focus on the object as much but on the paint chips.
• Select an area where you can arrange ideas that are generated.
your still life, ensuring that it is easy Figure 1.3 is an example of an
to be moved if required and that there observational drawing being used as
is suitable light to create shadows. a starting point for a new direction.
• Spend time setting up and arranging
your still life, exploring lighting
options (natural or artificial)
and creating shadows.
• A fresh page can seem intimidating so
remember to sketch lightly and add
darker lines later. It’s always easier to
sketch lightly at first and not worry
about getting a perfect drawing.
• Concentrate and watch the
object that you are drawing Figure 1.4 Different
rather than your actual work. drawing styles are seen
• At random intervals, distance yourself in these drawings from
observation.
from your drawing to see how your
work looks objectively – try looking
at your drawing in a mirror.
• Everyone has their own drawing
style even when it comes to
observational drawing. Whether
your line work is organic or sharp
and industrial-like, observational
drawing is all about reproducing an
object as realistically as possible.

DISCOVER 1.1 FREEHAND DRAWINGS IN DESIGN
Melbourne-based design studio 3 Deep has been

established since 1996 and works primarily in
branding and communication design. This award-
winning studio has clients such as Madonna for
Louis Vuitton, The Australian Ballet and the National
Gallery of Victoria. 3 Deep is also responsible
for publishing the book Bird with illustrations
by Kat Macleod. The range of packaging for
a fragrance shown in Figure 1.5 includes an
original freehand-drawn portrait by German artist
Robert Knoke. Observational drawings, drawings
from life studies visualisation and presentation
drawings can be incorporated into your design
work. Scan or photograph your drawings and work
further using computer software. Think about
different drawing styles and techniques and using
Figure 1.5 Creative a variety of media when creating drawings for
direction and design
by 3 Deep. Portrait by specific audiences or purposes.
Robert Knoke.
PAPER CRANES FROM OBSERVATION

EMBARK 1.1
For this activity you will require paper to create 3 Arrange your paper crane on an empty table,
a paper crane and a variety of different papers deliberately making decisions about the way
(surface textures and colours) and media the light falls across your crane (the light
(2B–8B grey lead pencils, charcoal and pastels). source) and the shadows that are cast onto
the paper crane and the ground.
PROCEDURE: 4 Sketch your paper crane from different angles
1 Take a sheet of A4 paper and cut it into and complete drawings in short and long time
a perfect square. frames.
2 Use the instructions provided to create 5 Complete one longer study, spending time on
a paper crane, or watch the video in the the application of tone reproducing highlights,
Interactive Textbook. mid tones and shadows.

drawing with paper cranes
Figure 1.7 Instructions for

folding a paper crane
1.3 Visualisation drawing: I’ve got drawing on freehand to draw
my mind without the use of drafts

or drawing aids
When responding to a brief it is common

practice to undertake research (including
observational drawing) and then respond
to the research by generating ideas.
Brainstorming ideas also occurs at this
point and may include written words and/
or thumbnail sketches. When generating
ideas, visualisation drawing allows for
ideas to be recorded quickly and easily.
Visualisation drawings are usually
freehand and generated quickly with media
that is easy to use, such as a 2B pencil or
a fine liner. Sometimes colour is added later
to add emphasis or to communicate the
idea more clearly. The types of drawings
may also be explanatory sketches or
diagrams. These drawings are aimed at
conceptualising and communicating
ideas … they are idea drawings.
Visualisation drawings are the primary
type of drawing used in the idea-generation
stage of the design process.
Trial different media but remember
that you want to be able to work quickly,
keeping up with the ideas being generated.
Figure 1.8 An example of visualisation drawings: concept for a spoon design
A pencil, fine liner or pen may be more
appropriate than using markers or colour
pencil to highlight rather than to add because of the time it may take; however,
tone or surface textures. Rendering is not quick cross hatching may be used to
typically applied to visualisation drawings suggest form.

paraline drawing 1.4 Presentation drawing
a three-dimensional
drawing system where
the side(s) and top views
of an object are drawn Presentation drawings are finished Three-dimensional drawings
with the receding lines drawings that may depict a final idea,
remaining parallel to
each other. Examples a concept or a solution. Examples may There are drawing methods that can be
are isometric and include illustrations, and two- and three- used to quite accurately represent three-
planometric. dimensional technical drawings that dimensional forms. These are paraline
perspective drawing include the correct use of conventions (isometric and planometric) and perspective
a three-dimensional and both digital and manual drawing (both one- and two-point). These drawing
drawing system where
the side(s) and top views methods. For example, you might produce systems can be generated freehand or
of an object recede a dimensioned orthogonal drawing using constructed using drawing instruments and
back to a vanishing drawing instruments or construct the same even produced by digital means.
point(s). This study looks
at one- and two-point drawing using a vector software program
perspective. like Adobe® Illustrator®.
Paraline
isometric drawing
a type of paraline Paraline drawings show us what an
drawing system for object looks like or what an object might
visually representing
objects three- look like once it has been made. These
dimensionally using types of drawings are used in different
receding lines at angles fields of design including industrial
of 30°
USING A
INSTRUCT 1.1
design, engineering and architecture.

planometric drawing
a type of paraline
DRAWING Three-dimensional drawings allow us to
drawing system for BOARD AND visualise the length, width and height of an
visually representing INSTRUMENTS object. These types of drawings are often
objects three- constructed using instruments; however,
dimensionally using
receding lines at angles The Interactive Textbook understanding how to construct these types
of 45° or 30°/60°. In has guidelines on using of drawings will improve your freehand
this study we associate manual methods and drawing skills. In this study you are required
planometric drawing
with the field of instruments for to become familiar with the most commonly
environmental design. presentation drawing. applied three-dimensional drawing methods,
which are outlined below.
Figure 1.10 Paraline drawing incorporates

three sets of parallel lines
Figure 1.9 Three-dimensional family tree

of terminology

Paraline drawings use a system of Isometric drawings
parallel lines that never converge. These Isometric drawings are the most popular of
drawings are quick and easy to produce the paraline drawing systems and are similar
and are useful for sketching ideas or to two-point perspective in that the spectator
clearly showing information on three sides. point is facing the corner. In an isometric
Isometric and planometric drawings have drawing, the height is shown by the corner
one major element in common – they all that faces you and the width and depth of
have three sets of parallel lines. the object recede at 30° with parallel lines.
Isometric drawings allow you to show the
details and proportions of an object. Figure 1.11 Construction
of an isometric
drawing (cube)
STEP 1: Place your set square as shown and STEP 2: Using your 30° set square draw STEP 3: Next measure the length of
draw the height of your object. the two base lines at the bottom of your object on each of the 30° angle
the vertical height line. lines and the height of the object on
the vertical line.
STEP 4: Place your set square at a right STEP 5: Commence drawing in the top of your object STEP 6: Draw the final two 30°
angle and draw in the sides of your object. by placing your set square at 30° and draw these parallel lines to finish. Erase any
lines from the top of the vertical line. drafting lines.
ISOMETRIC DRAWING
EMBARK 1.2
Figure 1.12 is a collection of objects drawn in

isometric. Draw each object several times,
rotating the object and drawing it from different
angles. Isometric drawing paper may assist you
with this task.
Figure 1.12 Isometric

drawings of objects

Perspective
Whether undertaking observational
drawings or generating visualisation
drawings, the use of perspective drawing
can assist in representing the form of
objects. Perspective drawing is a method of
producing or drawing objects very close to
how we see objects and environments in
real life. It can communicate the form of an
object and the environment it is found in.
Imagine standing at the beginning of
a pier staring down towards the end. You
would notice a few things:
• The ground or floorboards of the pier

would appear to get more narrow and
smaller and eventually lose definition.
• The side barriers of the pier would appear
to get smaller and have less detail.
• The colours would change and appear
faded, muted and even cooler in hue.
In reality we know that these things are not

true and that they are occurring because of
the optical effect of perspective.
Methods of projection
Figure 1.13 Emphasising
perspective in There are two techniques used for
photography Planometric drawings constructing a perspective view of an object
Planometric drawings are constructed or environment: plan projection and direct
plan projection
a method of drawing in in a similar way to isometric drawings perspective.
perspective where a plan except that their length and depth is drawn
or elevation is drawn using 45° angle lines. As with isometric PLAN PROJECTION
first, which then provides
all the measurements for drawings, there are three sets of parallel Plan projection involves using plan or
drawing the perspective lines. Because of the 45° angle of the lines, elevation views to project a perspective view.
direct perspective the top of the object faces the viewer and It can be a complicated and time-consuming
a method of drawing provides a ‘bird’s eye view’, which is useful process. For a designer, it requires that a plan
in perspective where for drawing the interior of a room. Architects or elevation of the product or environment
objects are drawn
using horizon lines and often use planometric drawing in their is completed first. As a student you might
vanishing points. The illustrations because of the view of the top employ this process after completing a scaled
placement of these face of the object. Planometric drawing will floor plan of a house or top view of an object.
allows the artist or
designer control of be discussed in detail in Chapter 4 alongside This book will focus on direct perspective.
different views of the other drawing systems used by architects.
object being drawn. DIRECT PERSPECTIVE
Direct perspective is very useful when
generating or developing ideas as it allows
HOT TIP
INSTRUCT 1.2
for ideas to be recorded quickly while

maintaining accuracy in representing form,
If using colour to render your perspective drawing, and it is perfectly acceptable to use when
use cool colours in the background and warm completing final presentation drawings
colours in the foreground to assist in emphasising using both manual and digital methods. This
the perspective. system of perspective does not rely on the use
of a plan or elevation and therefore may not

be as mathematically correct as a drawing • View point refers to the position you want
produced using plan projection. Judgements to draw your object from. Imagine it
about the width and depth of space you want is where you are standing and looking
to show can be created or indicated by using towards (see Figure 1.15).
the vertical lines. Refer to Figure 1.14. This • The vanishing point is the imaginary
type of perspective drawing will allow you point at which the parallel lines seem
to indicate a scale based on the dimensions to converge or vanish. For example, if
of a human figure or object. This method you look at Figure 1.13, it appears that
encourages you to use freehand drawing to the wooden blocks are getting smaller
develop judgement of proportion and to show as they head towards one point. You
the relationship of objects to each other. can move your vanishing points along
the horizon lines to achieve different
Details of perspective drawing perspectives. For example, if you move
Perspective drawing is governed by your vanishing point more towards the
guidelines, just like other types of technical right you will see more of the right side
drawing. The following points will help you of your object.
get started.
• The horizon line is where your eye level One-point perspective

is whenever you look at something. By One-point perspective is a drawing in which
changing the level of your horizon line converging lines meet at one point. Like
you can change what information the oblique drawing, one surface or face is
viewer sees (see Figure 1.17). always facing the viewer.
Drawing below the horizon line
Figure 1.14 The horizon line and vanishing points on a perspective drawing Figure 1.15 One-point perspective of a table.
The side of the table faces the viewer directly.
Placing the horizon line in

the middle
STEP 1: STEP 2: Draw light STEP 3: Determine the depth of

• Make a decision about your horizon projection lines your object and draw horizontal
line and vanishing point placement. from your object to and vertical lines to complete its Drawing above the horizon line
• Draw the front view of your object. the vanishing point. shape. Your object should look in
proportion; this can take practice.
Use lightweight lines so you can Figure 1.17 You can choose different view
Figure 1.16 Simple steps to one-point perspective erase mistakes. points to draw from.

EMBARK 1.3 PERSPECTIVE LETTER
Using the computer, type the first initial of your your initial in different positions in relation to the
name in uppercase and select a geometric style horizon line and vanishing points. Select your
of typeface. Set your initial to 300pt so that it takes favourite drawing for a final presentation and render
up approximately one-third of an A4 page, print the initial with hatching techniques and black
and paste into your visual diary. Using visualisation ink. Scan your letter and manipulate it further in
drawing, generate a range of one- and two-point a software program like Photoshop® or Illustrator®
perspective drawings of your initial. Explore placing to create a personal book label.
Figure 1.18 Two-point

perspective letter Figure 1.19 Book label
Two-point perspective
Two-point perspective is used widely as Remember:
it reflects most closely the way we see
• The height faces the viewer and you
things. The front of the object does not
can use the angle facing the viewer to
face the viewer when drawn in two-point
determine scale.
perspective. Rather, the front corner (as in
• You will need to use your skill in judging
isometric and planometric drawings) is seen.
proportion and scale when drawing the
The sides of the object being drawn recede
sides.
to two different vanishing points. One-point
• Place your vanishing points closer
perspective drawings allow us to easily
together for a dramatic perspective.
measure the height and width of the object.
• Place your vanishing points further apart
However, because the corner of the object
and your perspective will appear less
faces us in two-point perspective it is the
dramatic.
height only that is easy to measure.
• Converging lines are not parallel.
• When drawing freehand perspective
you need to judge the proportion of the
objects when placing them together.
Figure 1.20 The corner of

the building faces the
viewer and the two sides
recede back towards
the vanishing points in
two-point perspective
drawing.

Figure 1.21 Simple steps to two-point perspective
CLASSROOM OBJECTS
EMBARK 1.4
Select simple objects in your classroom
environment and sketch in two-point perspective.
Experiment with the following:
• placing the object above, below and on the

horizon line
Figure 1.22 Two-point
• changing the space between vanishing points. perspective of a pencil
sharpener
Two-dimensional drawings orthogonal drawing

two-dimensional multi-
view drawing
Orthogonal drawing
There will be times when your three- can assist in providing more information
dimensional drawings will not provide for your client or manufacturer. In this
enough information about the object study, we look at third-angle orthogonal
or building that you have designed. An drawing which has a specific set of drawing
isometric or perspective drawing does conventions including layout and placement
not always provide enough information of views. More information on orthogonal
for construction purposes. An orthogonal drawing can be found in Chapter 4.
drawing includes multiple views and

EMBARK 1.5 HAND-HELD MUSIC DEVICE
The following set of tasks includes observational 2 Use visualisation drawing to generate a range
drawing, visualisation drawing and presentation of ideas for a new concept for a hand-held
drawing. music player.
3 Select one idea and draw in isometric using
1 Commence by drawing your mobile phone from drawing instruments.
observation. Draw your phone in two-point 4 Draw the same idea as a third-angle orthogonal
perspective, exploring different angles. Trial drawing. Refer to Chapter 4, page 112 for steps
creating dramatic views through the placement in drawing an orthogonal drawing.
of different vanishing points and drawing above
and below the horizon line.
Figure 1.23 Visualisation drawings of hand-held music devices Figure 1.24 A presentation drawing – third-angle orthogonal drawing,
produced in Adobe® Illustrator®

1.5 Rendering techniques
Rendering is applied to a drawing to if you put an orange square on a blue render to add tone to an
enhance its form, surface finish and texture. background (a complementary scheme), object to create form
A designer can choose from a variety of the orange seems brilliant and becomes complementary
media to render an object, including pencil, quite a focal point. If you put the same colours colours that are
opposite to each other on
pastel, markers, ink or a combination of any orange square on a yellow-orange the colour wheel
of these. A designer or illustrator applies background (a monochromatic scheme),
crosshatching
tone to simulate light and shadow and uses it doesn’t stand out. a rendering technique in
other elements of design, such as colour and which lines are used to
texture, to emphasise the rendered features. Different types of hatching create tone or shading
effects
Another form of rendering is digital rendering Hatching is layers of lines placed in one
in illustration programs such as Adobe® direction. Repeating lines in the one area contour hatching
a form of hatching where
Photoshop® and Adobe® Illustrator® or will achieve a darker tone. the lines drawn follow
computer-aided design (CAD) programs such Crosshatching is where layers of lines the surface direction of
as Solid Edge, Solid Works or 3D Studio MAX. are placed at different angles. The first layer the object
might be a series of horizontal lines followed scumbling a form of

by a series of vertical lines. hatching that uses built-
up/layered curly, circular,
Applying elements of design Contour hatching is where layers of scribble-like lines to
in rendering lines follow the contour of the object being create tone
rendered. This method of hatching can be
The elements of design are the building used to achieve a more three-dimensional
blocks of a design. As a designer, you select effect, and is often used in life drawing.
which elements to use and which elements Scumbling is where you use layers of
to emphasise to attract your target audience. small scribble-like marks to build up tone
and add texture. By changing the direction
and shape of your scribbles, you can add
Colour: clever ways of enhancing
more impact to your rendering. Random
• When applying colour in your rendering, hatching is where layers of short, straight
you can eliminate the use of black and marks are applied, and different tones
use complementary colour schemes to and textures can be achieved by changing
create shadows. the direction of the marks or by following
• Anachromatic colour can help you to a contour of the object.
create a focal point. For example, a poster
illustration of a person’s face with bold
black, white and grey set against a plain
red background will help the face become
a focal point.
• You can use warm and cool colours for
associations; for example, warm for happy Figure 1.25 Crosshatching
and energetic, cool for calm and peaceful.
• Complementary colours always include
one cool and one warm colour, and when
they are placed together they enhance
each other. Complementary colour
schemes use colours that are opposite to Figure 1.26 Contour hatching
each other on the colour wheel.
• When you are working on a rendering,
try using a monochromatic colour
scheme. Think about which colour to
make the object and which colour to
place in the background. For example, Figure 1.27 Scumbling

INSTRUCT 1.3 HATCHING: CLEVER LINE TECHNIQUES
Lines can be used independently, or they can different angles (crosshatching) or in parallel (linear
be combined with other lines to create textures hatching). The artist can vary the space between
and patterns. Methods of doing this include the lines, as well as the pressure they apply to their
crosshatching and linear hatching. pencil or pen. Generally, the closer the lines and
Hatching is using a series of closely spaced the darker the pressure of the pencil, the darker the
lines to create tonal effects in a drawing – either at tone will be.
linear hatching a form

of hatching that uses
parallel lines
Figure 1.28 Linear hatching Figure 1.29 An example of rendering using hatching
Texture
All surfaces can be described in terms of
texture. When rendering an object, we
can add texture to the surface to create
a more realistic impression. Many artists
and designers use texture as a dominant
element in their work to help them reach
their target audience. Texture can be
realistic, or it can be implied by different
uses of media. By applying texture to your
rendering you can create distinctive or
identifying characteristics. The quality of
a surface might be rough, smooth, wet, dry,
hard, soft, shiny, matte (dull), slick, sticky,
slippery, abrasive, coarse or porous. Other
descriptions might be glass, metal, plastic,
wool, felt, fabric or even fur.
When you are incorporating texture into
a rendering, explore and experiment with
media and materials as they can achieve
different results.
Figure 1.30 Examples of different textures rendered with pencil, including metal, plastic, wood and glass Sometimes you can use texture to
replicate original surfaces or have fun
making another statement.

Figure 1.31 Rendering
techniques
Figure 1.32 Impossible

textures
DRAWING WITH TEXTURE

EMBARK 1.6
1 Use freehand drawing to visually interpret

a clothes peg in nine different ways.
2 Next render each peg with different media and
experiment with different surface textures, as
depicted in Figure 1.31. Ensure that you use
natural or artificial light to create shadow.
3 Brainstorm a list of potential objects, such as
cups and saucers, tools or sea shells. Draw
your object at least three times from different
angles. Take the first image and render it with
pencil, focusing on smooth textures. Render the
second image with any media to reflect a shiny
metallic surface. Render the last image to
reflect a surface such as fur. Examples of these
textures can be found in Figures 1.31 and 1.32. Figure 1.33 Clothes pegs
with shadows

EMBARK 1.7 DRAWING AND LIGHT SOURCES
1 Take a photograph of an everyday object and tone. For this task you are required to select and
print it out in black and white. You may want emphasise a strong light source.
to take your photograph into Photoshop® and 3 When you are happy with your sketch, redraw
adjust the contrast and brightness. it to a finished standard on black paper using
2 In your visual diary, sketch your photograph white pencil or pastel. Remember to keep your
using a grey lead or graphite pencil, pencil sharp for fine line detail. For something
concentrating on using line and hatching different you might wish to use scraperboard
techniques rather than applying smooth areas of and a fine etching needle or compass.
Figure 1.34 Everyday objects

to render. Perhaps a plant
or flower from your garden?
RESEARCH Light and shadow in rendering

DISCOVER 1.2
Do a web search for the below sites, which show

Shadows
different styles of drawing and rendering. We dare
you not to be impressed! The ability to render objects with projected
shadows and understanding how to use
• The Style File
different light sources can make a difference
• Sketch-A-Day
to your drawings. Form is created and
• Jacky Winter Group
emphasised by applying tone (light and
• IA (Illustrators Australia)
shadow) to shape. Light directed at an object
• Books Illustrated
will create shadows and define the object’s
form. Exploring light and shadow will allow
you to achieve dramatic and eye-catching
results in your rendering.
EXTRA READING
DISCOVER 1.3
Light source
• Hogarth B, Dynamic light and shade, 1991
• Powell D, Presentation techniques, 1990 When starting a rendering of an object,
you need to decide where the light source
is coming from, as the light source creates
the light and shadowed areas on the object.
Figure 1.35 is a photograph of a collection

of wooden blocks arranged in a simple the object, as seen in Figure 1.37. Notice
composition. The same composition has in the drawings the correlation of the light
been drawn in Figure 1.36. The task of source angle and the angle of the shadow
drawing and rendering the composition projection lines.
was made easier because the blocks could
be seen and the light source and light and Bright idea
shadowed areas could be determined. By applying shadows to your rendering
you can create depth, and by leaving areas
lightly rendered you can make something
Creating your own shadows
appear to be raised. Use bright highlights
There are several ways to construct for the highest point of an object, and
shadows, and different situations will call shadows for the deepest point or for the
upon different methods. A shadow occurs point furthest away from the eye. If you
when an object obstructs the path of light – want something to appear flat, it needs to
for example, a box sitting in the sun. The have uniform colour. As soon as it becomes
shape of the shadow is determined by the lighter, it will appear to elevate; any areas
shape of the object. The light passes the that you make darker will appear to recede.
edge of the object and casts the shadow. When creating strong areas of dark shadows
Shadows can be cast from the object onto and making bright highlights, you create
the ground or onto the object itself. Drop a strong contrast, emphasise the form of the
shadows are shadows cast directly below object and create more visual interest.
Figure 1.35 Photograph of wooden blocks
Figure 1.37 Examples of light

Figure 1.36 Drawing taken from the photograph sources and cast shadows

1.6 Media and materials
Media are the digital and non-digital mark or what you choose to make your mark
applications used to make visual on. What is important is that you know the
communications. difference between media and materials
(VCAA Study Design, © VCAA) because you might be examined upon it.
The study design lists pencil, ink, marker, It started with a pencil
pastel, crayon, charcoal, acrylic paint,
watercolour, gouache, dye, toner, film, digital Your pencil will always be one of the
applications – vector- and raster-based easiest ways to generate an image. It’s not
programs. This is just a list and is not all only an economical choice of media but a
that you can use as media. For example, pencil can be taken anywhere. A pencil can
think about sprinkling grass seeds in the be used to create a variety of marks and
shape of a word. Water and watch the grass illustration styles.
grow into the word. You would have used
grass seeds as your media.
Grey lead and graphite pencils
Grey lead pencils are an essential tool that
Materials are the surfaces or substrates you can use for all drawing types, including
that visual communications are observational and visualisation drawing.
applied to or constructed from. Grey lead pencils are graded according to
(VCAA Study Design, © VCAA) their hardness or blackness, from 9H to 9B.
Graphite pencils are solid pencils of
graphite covered in lacquer to prevent your
The study design lists paper, card, wood, hands from becoming stained or dirty with
glass, metal, clay, stone, plastic, textile, screen. graphite. The graphite pencil is soft and
Again, this is not a definitive list. Think luxurious to use and is a welcome media of
about other materials that you could use. choice for observational drawing.
For example, writing a word in the sand on
a beach … the sand becomes your material.
Coloured pencils
It doesn’t matter what you use to make your
Coloured pencils are made using wax-
like cores with pigment and other fillers.
Pencils can be blended to create different
Figure 1.38 Pencils are colours. Lightly applying layers of colour
rated by hardness or deliberately layering colour using
and blackness
a crosshatching style will allow you to achieve
blended colours, as seen in Figure 1.41.
Figure 1.39 Drawing using a grey lead pencil Figure 1.40 Shell renderings produced Figure 1.41 Different applications of colour pencil including
using graphite pencils blending of layers

COLOUR PENCIL IN ACTION
INSTRUCT 1.4
Choose a textured paper, such as cartridge paper. and reds to create contrasting shadows; this will
Start applying tone with pale yellow, building up produce more interesting shadows than if you
shadowed areas and leaving highlight areas of just used black, which can flatten your work. Do
white. Next, apply darker shades of yellow and not be afraid to leave behind the texture created
green on top of the existing yellow shaded areas. when using pencil; try to deliberately leave behind
Work softly, applying gentle layers of pencil to build sketchy, wispy line work in the shadowed areas to
up both tone and colour. Finally, apply cool greens create visual interest.
Figure 1.42 Pears in

coloured pencil
Water-soluble pencils
Water-soluble pencils can be used like
regular coloured pencils, or can act like
watercolour paint with the addition of water.
In Figures 1.43 and 1.44, the illustration of
bees was produced using watercolour pencil
on smooth-textured illustration board. A
layer of pencil was applied directly onto the
board followed with washes of water using
a soft brush. When the wash was dry, layers
of watercolour pencil were applied by lifting Figure 1.43 Cropped detail of bee
from Figure 1.44. Look closely to
the colour off the pencil with a wet brush
see the paint brush marks left
and applying it to the image. This allowed behind to create line-like texture. Figure 1.44 Water-soluble pencils can act like watercolour paint.
greater control in achieving fine detail.
Pen and ink
Fine liners
Fine liners are hard felt-tipped pens and
are available in a range of colours and line
widths. They produce a consistent and
smooth high-quality fine line, which is why
they are popular with illustrators. Alongside
grey lead pencil they make an excellent
choice for the initial sketches produced in
the early stages of your design process. Figure 1.45 An illustration created using a black fine liner

EMBARK 1.8 MANUAL AND DIGITAL METHODS
Using a fine liner, create an illustration that focuses

on the element of line. Take your illustration into
a program like Illustrator® to add shape and colour.
Figure 1.46 A black

fine liner drawing of
mushrooms was scanned
and imported into
Adobe® Photoshop®,
where colour and texture
were added.
FINE LINERS AND PENS Felt-tip pens

INSTRUCT 1.5
IN ACTION Felt-tip pens are a quick and versatile ink

medium, especially for filling in large areas.
Not all fine liners and ballpoint pens use the
Available in a range of thickness and nib
same ink. There can be slight differences in
styles, they come with a permanent or
the colour and fluidity of the ink. Therefore, use
water-based ink.
the same pen for the one job.
Ballpoint pens
When using a ballpoint pen the end result
may not look a lot different to using a fine
liner. However, some illustrators and
designers prefer the harder tip on the end
of a ballpoint pen in preference to the softer
tip of a fine liner. These pens come in one
line width, which will be consistent for the
life of the pen, unlike a fine liner where the
tip can become damaged.
Figure 1.47 A drawing completed with a black ballpoint pen Figure 1.48 Drawing with a black felt tip pen

Ink for dipping, brushes and your
NO EXCUSE
INSTRUCT 1.6
imagination
Drawing inks have been around for a long While not always the most ideal choice of media, it
time and are desired for their brilliance is amazing what can be achieved with the blue biro
of colour and their range of possible found at the bottom of the drawer.
applications. They are available in a wide
range of colours and can be used with
traditional tools such as brushes, calligraphy
pens, an airbrush or even a stick. These inks
are permanent, easily diluted, intermixable
and can be used on a variety of surfaces.
Markers
Spirit-based design or illustration markers
usually come with two tips: a broad chisel
tip for filling in large areas and a fine tip for
line work and adding detail. Good-quality
markers will have replaceable nibs and
can be refilled with replacement ink. These
markers are available in a broad range
of colours and can be colour matched to Figure 1.49 Drawing with
industry printing inks and dyes, including a blue biro
the Pantone® colour range.
Figure 1.50 Ink applied with a brush Figure 1.51 Rendering with markers
EXPLORING THE COFFEE CUP

EMBARK 1.9
WITH MARKERS
Find a disposable coffee cup complete with a lid.

Complete a series of observational drawings
from different view points. Complete an isometric
drawing of the coffee cup and render with markers.
This drawing could be used as a starting point
in Unit 1, Area of Study 2, Design Elements and
Principles. Design the surface graphics for the drawings rendered
coffee cup based upon the line, colour and pattern. with markers

INSTRUCT 1.7 MARKERS IN ACTION
Choose smooth-textured, bleed-proof paper to allow try using a lighter shade to blend the colours
the ink in the markers to flow, making blending together or use the blend marker. Add a cooler and
colours easier. Apply your colours from light to dark. darker shade of green, such as olive, to the shadow
In the example shown in Figure 1.53, pale yellow areas and try using a contrasting colour such as
was used to create tone by building up layers of red in the shadowed areas to create more depth. To
colour. A darker yellow-green shade was then create more visual interest, use pencil or dry pastel
applied to areas where there were darker shadows. on top to add white or coloured highlights.
If you find it difficult to blend two colours smoothly,
Figure 1.53 Building layers

of colour with markers
QUICK SKETCHING WITH

INSTRUCT 1.8
MARKERS
Some videos demonstrating quick sketching with

markers are included in the Interactive Textbook.
Figure 1.54 Sketching with markers
HOT TIP DESIGNERS

INSTRUCT 1.9
DISCOVER 1.4
Use a china graph pencil, Research the following designers online:

chalk pastels and/or
• Mark Randall
correction fluid for highlights
• Spencer Nugent (he refers to himself as:
when rendering with markers.
Designer – Coder – Illustrator). He also
has a wonderful idea of a sketch a day.

Paint
Gouache Watercolour
Gouache is an opaque water-soluble Besides the allure of creating transparent
paint, rather than being transparent like layers of colour, watercolour paints
watercolour. Being opaque, gouache can can provide designers and illustrators
hide any pencil marks underneath and with a quick and effective media for
is easy to work on top of with pencil or rendering and environmental illustrations.
fine liner if required. It dries to a flat Watercolours can be applied directly to dry,
finish and is therefore easy to scan, unlike pre-soaked or wet paper for different results.
coloured pencil, which has a sheen that Be sure to experiment.
can be picked up during scanning. White is
available in the colour range, unlike many
watercolour brands where the white of the
paper is preserved.
Figure 1.55 Mixed at the right consistency, gouache will

cover grey lead pencil.
Figure 1.56 Gouache: dilute with water or use as a creamy Figure 1.57 Watercolour illustration by Peter Cherry
consistency with coloured pencil applied over the top when dry.

Another random document with
no related content on Scribd:
essay being indicated.
ROBERT BURNS
It is pleasant to be able to let Dr. Holmes, who was present at the
Burns Festival, speak for himself and Lowell and Judge Hoar of Mr.
Emerson’s speech on that day. I have heard the Judge tell the story
of his friend’s success with the same delight.
“On the 25th of January, 1859, Emerson attended the Burns
Festival, held at the Parker House in Boston, on the Centennial
Anniversary of the poet’s birth. He spoke, after the dinner, to the
great audience with such beauty and eloquence that all who listened
to him have remembered it as one of the most delightful addresses
they ever heard. Among his hearers was Mr. Lowell, who says of it
that ‘every word seemed to have just dropped down to him from the
clouds.’ Judge Hoar, who was another of his hearers, says that,
though he has heard many of the chief orators of his time, he never
witnessed such an effect of speech upon men. I was myself present
on that occasion, and underwent the same fascination that these
gentlemen and the varied audience before the speaker experienced.
His words had a passion in them not usual in the calm, pure flow
most natural to his uttered thoughts; white-hot iron we are familiar
with, but white-hot silver is what we do not often look upon, and his
inspiring address glowed like silver fresh from the cupel.”
The strange part of all the accounts given by the hearers is that
Mr. Emerson seemed to speak extempore, which can hardly have
been so.
No account of the Festival, or Mr. Emerson’s part therein, appears
in the journals, except a short page of praise of the felicitous
anecdotes introduced by other after-dinner speakers.
Page 440, note 1. Here comes out that respect for labor which
affected all Mr. Emerson’s relations to the humblest people he met.
In the Appendix to the Poems it appears in the verses beginning,—
Said Saadi, When I stood before
Hassan the camel-driver’s door.
Page 441, note 1. Thomas Carlyle.

Page 441, note 2. Mr. Emerson here recalls his childhood and that
of his brothers, as in the passage in “Domestic Life,” in Society and
Solitude, that has been often referred to in these notes.
Page 443, note 1. Among some stray lecture-sheets was the
following on the scholar or poet:—
“Given the insight, and he will find as many beauties and heroes
and strokes of genius close by him as Dante or Shakspeare beheld.
It was in a cold moor farm, in a dingy country inn, that Burns found
his fancy so sprightly. You find the times and places mean. Stretch a
few threads over an Æolian harp, and put it in the window and listen
to what it says of the times and of the heart of Nature. You shall not
believe the miracle of Nature is less, the chemical power worn out.
Watch the breaking morning, or the enchantments of the sunset.”
SHAKSPEARE
The following notes on Shakspeare were written by Mr. Emerson
for the celebration in Boston by the Saturday Club of the Three
Hundredth Anniversary of the poet’s birth.
In Mr. Cabot’s Memoir of Emerson, vol. ii., page 621, apropos of
Mr. Emerson’s avoidance of impromptu speech on public occasions,
is this statement:—
“I remember his getting up at a dinner of the Saturday Club on the
Shakspeare anniversary in 1864, to which some guests had been
invited, looking about him tranquilly for a minute or two, and then
sitting down; serene and unabashed, but unable to say a word upon
a subject so familiar to his thoughts from boyhood.”
Yet on the manuscript of this address Mr. Emerson noted that it
was read at the Club’s celebration on that occasion, and at the
Revere House. (“Parker’s” was the usual gathering-place of the
Club.) The handwriting of this note shows that Mr. Emerson wrote it
in his later years, so it is very possible that Mr. Cabot was right. Mr.
Emerson perhaps forgot to bring his notes with him to the dinner,
and so did not venture to speak. And the dinner may have been at
“Parker’s.”
ALEXANDER VON HUMBOLDT

The Boston Society of Natural History celebrated the One
Hundredth Anniversary of the birth of Humboldt. Dr. Robert C.
Waterston presided at the Music Hall, where Agassiz made the
address. In the evening there was a reception in Horticultural Hall.
The occasion was made memorable by the Society by the founding
of a Humboldt and Agassiz scholarship in the Museum of
Comparative Zoölogy in Cambridge.
Poems by Dr. Holmes and Mrs. Howe were read. Professor E. J.
Young and Dr. Charles T. Jackson gave reminiscences of Humboldt;
Colonel Higginson, the Rev. Dr. Hedge and others spoke. Mr.
Emerson’s remarks are taken from an abstract given in the account
of the celebration published by the Society.
WALTER SCOTT
Although Mr. Emerson, in the period between 1838 and 1848
especially, when considering the higher powers of poetry, spoke
slightingly of Scott,—in the Dial papers as “objective” and “the poet
of society, of patrician and conventional Europe,” or in English Traits
as a writer of “a rhymed travellers’ guide to Scotland,”—he had
always honor for the noble man, and affectionate remembrance for
the poems as well as the novels. In the poem “The Harp,” when
enumerating poets, he calls Scott “the delight of generous boys,” but
the generosus puer was his own delight; the hope of the generation
lay in him, and his own best audience was made up of such. In the
essay “Illusions,” he says that the boy “has no better friend than
Scott, Shakspeare, Plutarch and Homer. The man lives to other
objects, but who dare affirm that they are more real?” In the essay
“Aristocracy,” he names among the claims of a superior class,
“Genius, the power to affect the Imagination,” and presently speaks
of “those who think and paint and laugh and weep in their eloquent
closets, and then convert the world into a huge whispering-gallery, to
report the tale to all men and win smiles and tears from many
generations,” and gives Scott and Burns among the high company
whom he instances.
Mr. Emerson’s children can testify how with regard to Scott he
always was ready to become a boy again. As we walked in the
woods, he would show us the cellar-holes of the Irish colony that
came to Concord to build the railroad, and he named these deserted
villages Derncleugh and Ellangowan. The sight recalled Meg
Merrilies’ pathetic lament to the laird at the eviction of the gypsies,
which he would then recite. “Alice Brand,” the “Sair Field o’ Harlaw,”
which old Elspeth sings to the children in The Antiquary, and
“Helvellyn” were again and again repeated to us with pleasure on
both sides. With special affection in later years when we walked in
Walden woods he would croon the lines from “The Dying Bard,”—
“Dinas Emlinn, lament, for the moment is nigh,

When mute in the woodlands thine echoes shall die.”
Perhaps he had foreboding for his loved woods, beginning to be

desecrated with rude city picnics, and since burned over repeatedly
by the fires from the railroad,—
“When half of their charms with Cadwallon shall die.”
Of this poem he wrote in the journal of 1845:—

“‘Dinas Emlinn’ of Scott, like his ‘Helvellyn,’ shows how near to a
poet he was. All the Birmingham part he had, and what taste and
sense! Yet never rose into the creative region. As a practitioner or
professional poet he is unrivalled in modern times.” Yet he
immediately adds, “In lectures on Poetry almost all Scott would be to
be produced.”
Page 463, note 1. Mr. Emerson took especial pleasure in the
passage in the Lord of the Isles where the old abbot, rising to
denounce excommunicated Bruce to his foes, is inspired against his
will to bless him and prophesy his triumph as Scotland’s deliverer.
Mr. Emerson, writing in his journal in 1842 of his impatience of
superficial city life, during a visit to New York, alludes to the renewed
comfort he had in the Lord of the Isles:
“Life goes headlong. Each of us is always to be found hurrying
headlong in the chase of some fact, hunted by some fear or
command behind us. Suddenly we meet a friend. We pause. Our
hurry and empressement look ridiculous.... When I read the Lord of
the Isles last week at Staten Island, and when I meet my friend, I
have the same feeling of shame at having allowed myself to be a
mere huntsman and follower.”
His boyish love for the Lay of the Last Minstrel remained through
life. As we walked on Sunday afternoons he recited to his children
the stanzas about “the custom of Branksome Hall,” and the passage
where the Ladye of Branksome defies the spirits of the flood and fell;
and the bleak mile of road between Walden woods and home would
often call out from him
“The way was long, the wind was cold,

The Minstrel was infirm and old,” etc.
Page 465, note 1. The Bride of Lammermoor was the only dreary
tale that Mr. Emerson could abide, except Griselda.
Journal, 1856. “Eugène Sue, Dumas, etc., when they begin a
story, do not know how it will end, but Walter Scott, when he began
the Bride of Lammermoor, had no choice; nor Shakspeare, nor
Macbeth.”
Page 467, note 1. Journal. “We talked of Scott. There is some
greatness in defying posterity and writing for the hour.”
SPEECH AT THE BANQUET IN HONOR OF THE
CHINESE EMBASSY
When the Chinese Embassy visited Boston in the summer of 1868
a banquet was given them at the St. James Hotel, on August 21. The
young Emerson, sounding an early note of independence of the
past, had written in 1824:—
I laugh at those who, while they gape and gaze,

The bald antiquity of China praise;—
but later he learned to revere the wisdom of Asia. About the time
when the Dial appeared, many sentences of Chinese wisdom are
found in his journal, and also in the magazine among the “Ethnical
Scriptures.”
REMARKS AT THE ORGANIZATION OF THE

FREE RELIGIOUS ASSOCIATION
In the spring of 1867, a call for a public meeting was issued by
Octavius B. Frothingham, William J. Potter and Rowland Connor “to
consider the conditions, wants and progress of Free Religion in
America.” The response was so large as to surprise the committee,
and Horticultural Hall was completely filled on May 30. Rev. Octavius
B. Frothingham presided. The committee had invited as speakers
the Rev. H. Blanchard of Brooklyn from the Universalists, Lucretia
Mott from the Society of Friends, Robert Dale Owen from the
Spiritualists, the Rev. John Weiss from the Left Wing of the
Unitarians, Oliver Johnson from the Progressive Friends, Francis E.
Abbot, editor of the Index; and also David A. Wasson, Colonel T. W.
Higginson and Mr. Emerson. The meeting was very successful and
the Free Religious Association was founded.
Mr. Emerson’s genial and affirmative attitude at this meeting was
helpful and important. He wished the new movement to be neither
aggressive towards the beliefs of others, nor merely a religion of
works, purely beneficently utilitarian. Doubtless there were many
young and active radicals strong for destructive criticism. Mr.
Emerson wished to see that in their zeal to destroy the dry husk of
religion they should not bruise the white flower within. His counsel to
young men was, “Omit all negative propositions. It will save ninety-
nine one hundredths of your labor, and increase the value of your
work in the same measure.”
Page 479, note 1. In the journal of 1837 he said, “Why rake up old
manuscripts to find therein a man’s soul? You do not look for
conversation in a corpse.” And elsewhere, “In religion the sentiment
is all, the ritual or ceremony indifferent.”
SPEECH AT THE SECOND ANNUAL MEETING OF

THE FREE RELIGIOUS ASSOCIATION
Page 486, note 1. Mrs. Julia Ward Howe writes of Mr. Emerson,—
“He knew from the first the victory of good over evil; and when he
told me, to my childish amazement, that the angel must always be
stronger than the demon, he gave utterance to a thought most
familiar to him, though at the time new to me.”[L]
Page 488, note 1. In the essay on Character (Lectures and
Biographical Sketches), he says, “The establishment of Christianity
in the world does not rest on any miracle but the miracle of being the
broadest and most humane doctrine.”
“The word Miracle, as pronounced by Christian churches, gives a
false impression; it is Monster. It is not one with the blowing clover
and the falling rain.”—“Address in Divinity College,” Nature,
Addresses and Lectures.
Page 490, note 1. Mr. Emerson’s doctrine was not to attack
beliefs, but give better: “True genius will not impoverish, but will
liberate.” In a letter to one of his best friends who had joined the
Church of Rome he said, perhaps in 1858: “To old eyes how
supremely unimportant the form under which we celebrate the
justice, love and truth, the attributes of the deity and the soul!”
Page 491, note 1. Dr. Holmes, in his tribute to his friend, after his
death, read before the Massachusetts Historical Society, said:—
“What could we do with this unexpected, unprovided for,
unclassified, half unwelcome newcomer, who had been for a while
potted, as it were, in our Unitarian cold greenhouse, but had taken to
growing so fast that he was lifting off its glass roof and letting in the
hail-storms? Here was a protest that outflanked the extreme left of
liberalism, yet so calm and serene that its radicalism had the accents
of the gospel of peace. Here was an iconoclast without a hammer,
who took down our idols from their pedestals so tenderly that it
seemed like an act of worship.”
ADDRESS AT THE OPENING OF THE CONCORD

FREE PUBLIC LIBRARY
The Town of Concord, in the year 1782, chose a committee of ten
leading citizens to give instructions to its selectmen. The third of the
seventeen articles proposed by them read thus: “That care be taken
of the Books of Marters and other bookes, and that they be kept from
abusive usage, and not lent to persons more than one month at one
time.” This indicates the root of a town library. A constitution of a
Library Company, dated 1784, is extant. In 1806 a Social Library was
incorporated, which was merged in the Town Library in 1851. The
books were kept in a room in the Town House which was open for
borrowers on Saturdays.
William Munroe, son of a Concord tradesman who vied with the
Thoreaus in the manufacture of lead pencils, after leaving the
Concord schools went into business, and later into the manufacture
of silk. His intelligence and force of character secured prosperity. He
loved Concord, and, to use his own words, “desired to testify my
regard to my native town by doing something to promote the
education and intelligence, and thus the welfare and prosperity of its
people.” He gave to Concord a lot of land in the heart of the town
and a building for a Free Public Library, which, with great care and
thoroughness, he had built thereon and duly furnished; and made
handsome provision for care of the land and the extension of the
building later. He added a generous gift for books of reference and
standard works. The town thankfully accepted the gift, placed their
books in it, and chose their library committee. On a fine autumn day
in 1873, the library was opened with public ceremonies. Mr. Munroe
in a short and modest speech explained his purpose; Mr. H. F. Smith,
on behalf of the new library committee, reported its action and the
gifts which had poured in; Judge Hoar received the property on
behalf of the Board of Corporation, and Mr. Emerson, but lately
returned with improved health from his journey to the Nile, made the
short address. Writing was now very difficult for him, but the
occasion pleased and moved him, and his notes on books and on
Concord, and the remembrance of his friends the Concord authors
but lately gone, served him, and the day passed off well.
Page 498, note 1. The Gospel Covenant, printed in London in
1646, and quoted by Mr. Emerson in the “Historical Discourse.”
Page 499, note 1. Major Simon Willard, a Kentish merchant was
Peter Bulkeley’s strong coadjutor in the founding of Concord. He
also is alluded to in the “Historical Discourse.”
Page 500, note 1. These extracts are from the diary of Miss Mary
Moody Emerson.
Page 500, note 2. This letter was written not long after the death of
John Thoreau, Henry’s dearly loved brother, and also of little Waldo
Emerson, to whom he became greatly attached while he was a
member of Mr. Emerson’s household.
Page 501, note 1. Mr. Emerson here speaks for others. He could
not read Hawthorne because of the gloom of his magic mirror, but
the man interested and attracted him, though even as neighbors they
seldom met.
Page 506, note 1. Mr. Emerson notes that this is an allusion to the
“Harmonies of Ptolemy.”
THE FORTUNE OF THE REPUBLIC
In 1863, during the dark days of the Civil War, before the tide had
fully turned in the field, while disaffection showed itself in the North,
and England and France threatened intervention, Mr. Emerson gave
a hopeful lecture, the basis of the present discourse, on the Fortune
of the Republic. After the war it was adapted to the new and happier
conditions. On the 30th of March, 1878, six years after Mr. Emerson
had withdrawn from literary work, and but four years before his
death, he was induced to read the lecture in the Old South Church,
in a course planned by the committee, to save the venerable
building. The church was filled, Mr. Emerson’s delivery was good,
and he seemed to enjoy the occasion. It was probably his last
speech in public, and so fitly closes the volume.
Page 513, note 1. This passage occurred in the early lecture:—
“It is the distinction of man to think, and all the few men who, since
the beginning of the world, have done anything for us were men who
did not follow the river, or ship the cotton, or pack the pork, but who
thought for themselves. What the country wants is personalities,—
grand persons,—to counteract its materialities, for it is the rule of the
universe that corn shall serve man, and not man, corn.”
Page 519, note 1. Here followed: “What we call ‘Kentucky,’ or
‘Vallandigham,’ or ‘Fernando Wood’ is really the ignorance and
nonsense in us, stolid stupidity which gives the strength to those
names.... It is our own vice which takes form, or gives terror with
which these persons affect us.”
Page 520, note 1. This refers to a young Massachusetts scholar,
of promise and beauty, whom Mr. Emerson had been pleased with,
as a fellow voyager. He soon was corrupted by politics. Coming up,
at a reception, to shake hands with Mr. Emerson he was thus
greeted: “If what I hear of your recent action be true, I must shake
hands with you under protest.” Soon after, this aspirant for power
attended the dinner given to Brooks after his cowardly assault on
Sumner; but the moment the Emancipation Proclamation had been
approved by the people, he became an ornamental figurehead at
Republican and reform gatherings.
Page 520, note 2. From the last scene of Cynthia’s Revels, by Ben
Jonson.
Page 521, note 1. “The one serious and formidable thing in Nature
is a will.”—“Fate,” Conduct of Life, p. 30.
See also “Aristocracy,” in Lectures and Biographical Sketches, p.
50.
Page 524, note 1. Ben Jonson, The Golden Age Restored.
Page 526, note 1.
She spawneth men as mallows fresh.
“Nature,” II., Poems.
See also the “Song of Nature,” in the Poems.

Page 526, note 2. In the earlier lecture was this passage:—
“The roots of our success are in our poverty, our Calvinism, our
thrifty habitual industry,—in our snow and east wind, and farm-life
and sea-life....
“There is in this country this immense difference from Europe, that,
whereas all their systems of government and society are historical,
our politics are almost ideal. We wish to treat man as man, without
regard to rank, wealth, race, color, or caste,—simply as human
souls. We lie near to Nature, we are pensioners on Nature, draw on
inexhaustible resources, and we interfere the least possible with
individual freedom.”
Page 527, note 1. In the “Historical Discourse” in this volume, Mr.
Emerson tells of the evolution of the town-meeting of New England
and its working excellence, and of the latter also in “Social Aims” and
“Eloquence,” in Letters and Social Aims.
Page 540, note 1.
For you can teach the lightning speech,
And round the globe your voices reach.
“Boston,” Poems.
Page 541, note 1.
I will divide my goods;

Call in the wretch and slave:
None shall rule but the humble,
And none but Toil shall have.
“Boston Hymn,” Poems.
Page 544, note 1. The following passages came from the earlier
lecture:—
“I must be permitted to read a quotation from De Tocqueville,
whose censure is more valuable, as it comes from one obviously
very partial to the American character and institutions:—
“‘I know no country in which there is so little true independence of
opinion and freedom of discussion as in America’ (vol. i., p. 259).”
“I am far from thinking it late. I don’t despond at all whilst I hear the
verdicts of European juries against us—Renan says this; Arnold
says that. That does not touch us.
“’Tis doubtful whether London, whether Paris can answer the
questions which now rise in the human mind. But the humanity of all
nations is now in the American Union. Europe, England is historical
still. Our politics, our social frame are almost ideal. We have got
suppled into a state of melioration. When I see the emigrants landing
at New York, I say, There they go—to school.
“In estimating nations, potentiality must be considered as well as
power; not what to-day’s actual performance is, but what promise is
in the mind which a crisis will bring out.”
“The war has established a chronic hope, for a chronic despair. It
is not a question whether we shall be a nation, or only a multitude of
people. No, that has been conspicuously decided already; but
whether we shall be the new nation, guide and lawgiver of all
nations, as having clearly chosen and firmly held the simplest and
best rule of political society.
“Culture, be sure, is in some sort the very enemy of nationality and
makes us citizens of the world; and yet it is essential that it should
have the flavor of the soil in which it grew, and combine this with
universal sympathies. Thus in this country are new traits and
distinctions not known to former history. Colonies of an old country,
but in new and commanding conditions. Colonies of a small and
crowded island, but planted on a continent and therefore working it in
small settlements, where each man must count for ten, and is put to
his mettle to come up to the need....
“Pray leave these English to form their opinions. ’Tis a matter of
absolute insignificance what those opinions are. They will fast
enough run to change and retract them on their knees when they
know who you are....
“I turn with pleasure to the good omen in the distinguished
reception given in London to Mr. Beecher. It was already prepared by
the advocacy of Cobden, Bright and Forster, Mill, Newman, Cairnes
and Hughes, and by the intelligent Americans already sent to
England by our Government to communicate with intelligent men in
the English Government and out of it. But Mr. Beecher owed his
welcome to himself. He fought his way to his reward. It is one of the
memorable exhibitions of the force of eloquence,—his evening at
Exeter Hall. The consciousness of power shown in his broad good
sense, in his jocular humor and entire presence of mind, the
surrender of the English audience on recognizing the true master. He
steers the Behemoth, sits astride him, strokes his fur, tickles his ear,
and rides where he will. And I like the well-timed compliment there
paid to our fellow citizen when the stormy audience reminds him to
tell England that Wendell Phillips is the first orator of the world. One
orator had a right to speak of the other,—Byron’s thunderstorm,
where
“‘Jura answers from his misty shroud

Back to the joyous Alps who call to him aloud.’
“The young men in America to-day take little thought of what men
in England are thinking or doing. That is the point which decides the
welfare of a people,—which way does it look? If to any other people,
it is not well with them. If occupied in its own affairs, and thoughts,
and men, with a heat which excludes almost the notice of any other
people,—as the Jews, as the Greeks, as the Persians, as the
Romans, the Arabians, the French, the English, at their best times
have done,—they are sublime; and we know that in this abstraction
they are executing excellent work. Amidst the calamities that war has
brought on our Country, this one benefit has accrued,—that our eyes
are withdrawn from England, withdrawn from France, and look
homeward. We have come to feel that
“‘By ourselves our safety must be bought;’
to know the vast resources of the continent; the good will that is in
the people; their conviction of the great moral advantages of
freedom, social equality, education and religious culture, and their
determination to hold these fast, and by these hold fast the Country,
and penetrate every square inch of it with this American civilization....
“Americans—not girded by the iron belt of condition, not taught by
society and institutions to magnify trifles, not victims of technical
logic, but docile to the logic of events; not, like English, worshippers
of fate; with no hereditary upper house, but with legal, popular
assemblies, which constitute a perpetual insurrection, and by making
it perpetual save us from revolutions.”
FOOTNOTES
[A] Mr. Emerson believed the “not” had been accidentally
omitted, and it can hardly be questioned that he was right in his
supposition.
[B] Vol. ii., pp. 424-433.
[C] The Genius and Character of Emerson; Lectures at the
Concord School of Philosophy, edited by F. B. Sanborn. Boston:
James R. Osgood & Co., 1885.
[D] Correspondence of Carlyle and Emerson, vol. i., pp. 260,
261.
[E] Epistle of Paul to Philemon, i. 16, 17.
[F] See the report of this speech in Redpath’s Life of Captain
John Brown. Boston: Thayer & Eldridge, 1860.
[G] “Review of Holmes’s Life of Emerson,” North American
Review, February, 1885.
[H] Richard Henry Dana; a Biography. By Charles Francis
Adams. Houghton, Mifflin & Co., 1890. In chapter viii. of this book
is a very remarkable account of John Brown and his family at their
home at North Elba in 1849, when Mr. Dana and a friend, lost in
the Adirondac woods, chanced to come out upon the Brown
clearing and were kindly received and aided.
[I] While waiting for the services to begin, Mr. Sears wrote some
verses. The following lines, which Mrs. Emerson saw him write,
were a prophecy literally fulfilled within three years by the Union
armies singing the John Brown song:—
“But not a pit six feet by two

Can hold a man like thee;
John Brown shall tramp the shaking earth
From Blue Ridge to the sea.”
[J] In the very interesting work The Influence of Emerson,

published in Boston in 1903, by the American Unitarian
Association.
[K] See note 3 to page 63 of the “Historical Discourse.”
[L] “Emerson’s Relation to Society,” in The Genius and
Character of Emerson, Lectures at the Concord School of
Philosophy, edited by F. B. Sanborn. Boston: J. R. Osgood & Co.,
1885.
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II viscomm A Guide to Visual Communication Design

Welcome to viscomm VII

UNIT 1 Introduction to visual communication design

CHAPTER 2 Design elements and principles 41

CHAPTER 3 Historical and cultural practices 77

CHAPTER 4 Technical drawing in context 107

CHAPTER 5 Type and imagery 139

CHAPTER 6 The design process 165

IV viscomm A Guide to Visual Communication Design

CHAPTER 7 Analysis and practice in context 195

CHAPTER 8 Design industry practice 231

CHAPTER 9 The brief and generating ideas 259

CHAPTER 10 Development, refinement and evaluation 279

CHAPTER 11 Final presentations 299

CHAPTER 12 Exam time 313

VI viscomm A Guide to Visual Communication Design

Viscomm has been written as a companion Visualisation drawing is a means of

THREE AREAS OF DRAWING

• used to represent form, texture and

Welcome to viscomm VII

VIII viscomm A Guide to Visual Communication Design

JACINTA PATTERSON JOANNE SAVILLE

B.Ed. (Visual Arts), Grad.Dip.Ed. Dip.T., B.Ed., Grad.Dip.Ed.

Area of Outcome Task Key skills Chapter

Area of Outcome 1 THE USB Students will: Chapter 1

X viscomm A Guide to Visual Communication Design

Area of Outcome 3 POLITICALLY, SOCIALLY AND Students will: Chapter 3

Area of Outcome 1 THE SHIPPING CONTAINER Students will: Chapter 4

XII viscomm A Guide to Visual Communication Design

Area of Outcome 3 SEED PACKAGING Students will: Chapter 6

ASSESSMENT GRID XIII

Area of Outcome 1 PAVILIONS Students will: Chapter 7

Industrial design – Practice in context

• target audiences • third angle orthogonal

XIV viscomm A Guide to Visual Communication Design

Area of Outcome 3 TASK A: COMMENCING THE Students will: Chapter 9

Area of Outcome 1 TASK A: DEVELOPING AND Students will: Chapter 10

XVI viscomm A Guide to Visual Communication Design

Welcome to viscomm VII

CHAPTER 2 Design elements and principles 41

CHAPTER 3 Historical and cultural practices 77

CHAPTER 4 Technical drawing in context 107

CHAPTER 5 Type and imagery 139

CHAPTER 6 The design process 165

CHAPTER 7 Analysis and practice in context 195

CHAPTER 8 Design industry practice 231

CHAPTER 9 The brief and generating ideas 259

CHAPTER 10 Development, refinement and evaluation 279

CHAPTER 11 Final presentations 299

CHAPTER 12 Exam time 313