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Technological practice (TP)

6-1 | 6-2 | 6-3

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8-1 | 8-2 | 8-3

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6-1 | 6-2 | 6-3

7-1 | 7-2 | 7-3

8-1 | 8-2 | 8-3

Nature of technology (NT)

6-1 | 6-2

7-1 | 7-2

8-1 | 8-2

Design in technology (DET)

6-1 | 6-2

7-1 | 7-2

8-1/2

Manufacturing (MFG)

6-1 | 6-2

7-1 | 7-2

8-1/2

Technical areas (TCA)

8-1 

Construction and mechanical technologies (CMT)

6-1 | 6-2 | 6-3 | 6-4

6-5 | 6-6 | 6-7

7-1 |  7-2 |  7-3 |  7-4

7-5 |  7-6 |  7-7

8-1 | 8-2 | 8-3 | 8-4

8-5 | 8-6 | 8-7

Design and visual communication (DVC)

6-1 | 6-2 | 6-3

7-1 | 7-2 | 7-3

8-1 | 8-2 | 8-3

Digital technologies (DTG)

6-1 | 6-2 | 6-3 | 6-4

6-5 | 6-6 | 6-7 | 6-8

6-9 | 6-10 | 6-11 | 6-12

7-1 |  7-2 |  7-3 |  7-4

7-5 |  7-6 |  7-7 |  7-8

7-9 |  7-10 |  7-11 |  7-12

8-1 | 8-2 | 8-3 | 8-4

8-5 |  8-6/7 | 8-8 | 8-9

8-10 |  8-11 | 8-12

Processing technologies (PRT)

6-1 | 6-2 | 6-3

7-1 | 7-2 | 7-3

8-1/2 | 8-3


Key messages for DVC achievement standard - AS91627

AS91627 (3.30)Initiate design ideas through exploration

Key messages for teachers

At level 8:

Students demonstrate they can work from a starting point/experience and are able to generate ideas in the broadest sense to create new innovative design ideas. Students demonstrate effective and clear complex and high quality visual communication strategies/techniques and knowledge that communicates the intent of their design. 

Indicators

Students can:

  • Work from a starting experience - such as: listening to music, a visit to the zoo, beach, city, local bush, art gallery, poetry, observational drawings of birds or motor engines. 
  • Engage in a personal design journey that transforms these initial starting observations/sketches/photographs into a new way of looking and thinking to create new design ideas. 
  • Re-interpret ideas that shows a depth of thinking and reflection in the formation of ideas. 
  • Challenge their design thinking and extend ideas beyond the norm. 
  • Develop ideas that are highly divergent and challenge established conventions/practices and perceptions. 
  • Use visual communication strategies to support their exploration of ideas through physical and visual manipulations.
  • Record their visual journey using more than one visual strategy: 2D, 3D and 4D modes (such as: freehand sketching, drawing, modelling, animation).

Teacher guidance

To support students to develop the skills and knowledge at level 8, teachers could:

  • Arrange local visits (museum, beach, bush and so on), or collect unusual objects or natural objects so students can observe and sketch to gain a starting point or let them interpret music or a film clip that will grab their interest.
  • Teach students how to draw from observation. Use grids, Betty Edwards clear frame or any method that supports students in visually interrogating.
  • Develop a culture of divergence that leads to coherence.
  • Support students to develop divergent thinking by being optimistic, exploratory, and experimental:
    • sharing and collect all possible ideas from all students
    • supporting the strange, striving for the unusual, and encouraging different perspectives when developing ideas.
  • Create an environment that allows for all kinds of visual expression. Encourage students to take risks with their ideas, celebrate failure as another means to be clear about direction, support individual expression. (Design thinking relies on an interplay between analysis and synthesis, breaking problems apart and putting ideas together.)
  • Develop literacy understanding and students' ability to do: abstraction, re-combination, tessellation, exaggeration, rotation, inversion, translation, translocation, deconstruction from a given starting experience. (Discuss these terms by using visual examples.)
  • Provide support and encouragement when ideas are blocked.
  • Encourage autonomy and ownership.
  • Help the students to appreciate how they design by supporting metacognition processes. 
  • Use SCAMPER as a tool to develop divergent thinking:
    • Substitute: What are the alternatives?
    • Combine: How can you combine seemingly disparate ideas?
    • Adapt: How can you adapt something you’re already doing/using for a project?
    • Modify: What materials, processes, and methods can you modify to solve a problem?
    • Put to other use: Can you put an aspect to another use?
    • Eliminate: What can be eliminated?
    • Rearrange: How can you move around ideas to solve a problem?
  • Demonstrate and encourage students to explore a variety of visual communication strategies.
  • Develop confidence in your students so they are encouraged to extend their ideas beyond the norm in a dynamic and effective manner. 
  • Show students how other designers have developed ideas from an starting experience, have examples displayed and get students to critique them in a group situation.
  • Encourage students to communicate their interrogation of ideas without annotation to ensure they visually explore all possibilities, aesthetically, and functionally using both 2D and 3D techniques.

Key messages from the standard

  • Explanatory note 3 explains some visual communication strategies that support exploration: abstraction, re-combination, tessellation, exaggeration, rotation, inversion, translation, translocation, and deconstruction.
  • Explanatory note 4 gives a list of possible starting points that can be either student selected or teacher given: natural/built environment, film clips, music extracts, observational drawing, conceptual modelling, photography, language devices.

Key messages from the clarifications document

Format for the assessment

Assessment for this standard is in the form of a portfolio, up to a size of A2.

Computer applications for this standard (for example, Adobe Photoshop, Vector works, Google Sketch Up, flash animations). The format needs to be in a PDF, PowerPoint, HTML or QuickTime format on CD ROM. (No USB flash drives or MP3 players.)

The student portfolio should not exceed 60 pages.

As this is an external, student work is to be sent away. Therefore the following is not acceptable:

  • Student work contained in clear files.
  • An entirely laminated submission.
  • Additional packaging (for example, boxes or framed design work).
  • Models – only photographs are to be submitted.

Curriculum links

Last updated September 23, 2013



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