What you need to know
2
Design skills
Teacher’s notes
The aim of this section is to provide students with a variety
of tasks and information, which will help them to develop
their design skills. Designing is a key element of the Graphic
Products course and, although the skills learnt here are
important in their own right, it is a good idea to integrate
them within a more project-based focus, thereby giving each
skill the relevance of a context for students.
The design skills section incorporates a variety of worksheets
and information sheets relating to the student book. Most
worksheets can be used as homework tasks, as each contains
a focused practical task which should take no more than
an hour to complete. Some of the worksheets will need
teacher input to help students with the tasks. A basic level
of skill from students’ KS3 experience is expected in order to
complete the tasks successfully.
Despite the widespread use of computer technology
in modern design, all good designers will be able to
communicate their ideas using a range of drawing media.
Being able to draw by hand has many advantages and
students should be encouraged to practise the skills
and methods illustrated in the student book and on the
worksheets.
General hints and tips for teaching
drawing skills
• Give students plenty of opportunity to practise these
skills. A good method is to provide students with a form
of sketchbook that could include basic information and
exercises for them to use.
• Have lots of visual examples of work and mood boards
around the room.
• Interactive whiteboards are great for demonstrating the
sequence involved in doing a type of drawing, for example,
the stages in producing a 3D sketch using crates.
• Encourage students to acquire a basic set of graphic
media, pencils, colouring media, etc. If this is a problem for
students, keep individual student sets in polythene bags for
them to use.
• Use coloured paper. Buff coloured paper, for instance, is
easier on the eye than white paper and helps students
with dyslexia to see shapes more easily, as well as being
easier for all students to use.
• Encourage students not to worry about making mistakes,
especially when sketching freehand. A good way of doing
this is to get them to sketch using a fine liner pen or biro,
as this prevents them from being able to rub out errors.
Also, ban students from using rulers when sketching.
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• Get students to learn a few basic presentation methods
that they can master and use to give their coursework
a professional-looking finish – simple paper mounting
techniques, thick and thin line technique, rendering
methods, etc.
• Make use of CAD packages at an early stage in the
GCSE course – preferably at KS3. If possible, and if your
licence agreement allows it, give students a copy of an
appropriate package to take home and practise with.
• Use 10-minute starter exercises based around drawing –
a good method is to provide students with a small wipeclean whiteboard and marker pen. They can all do things
like speed sketching or show understanding of a more
formal drawing and have fun showing the results.
Student book chapter 2.1 – 2D and
3D sketching
Worksheets
Worksheets 5–7 are designed to enable students to practise
their drawing skills. There is a natural progression between
the worksheets, with students encouraged to apply their
improving drawing and sketching skills to design situations.
Remember to highlight the key elements of successful
coursework during these activities, because it is through
practice that these important skills are developed.
Student book chapters 2.2 and 2.3
– Enhancement techniques: Rendering
and Textures
The aim of these two chapters and the accompanying
worksheets is to improve students’ rendering skills, allowing
them to practise blending and fading colours as well as
representing the effects of light and shade.
Give students the opportunity to compare hand-produced
rendering with computer-generated effects. Such a
comparison should lead to valuable learning opportunities
– discuss with students the differences between the two
methods and the advantages and disadvantages of each.
Worksheets
Worksheets 8–11 are all designed to provide further
rendering and presentation practice. Students should use
good-quality white pencils for highlighting the edges of
each letter on worksheet 11. Techniques for adding realism
through such effects as reflections are provided. Students are
also encouraged to mount their work.
Answer to 2.2 Activity 1 (SB page 19)
Shading a drawing gives the image a more realistic
appearance. Giving the appearance of surface texture and
GCSE Graphic Products for AQA: Teacher’s Resource File © Heinemann Educational 2005
showing how light is reflected both help to make the drawing
more lifelike.
Student book chapter 2.7 – Working
drawings 1: Orthographic projections
Student book chapters 2.4 and 2.5
– Colour theory and Presenting your
ideas to a client
Worksheets
Worksheets 22–25 are designed to consolidate students’
knowledge and understanding of orthographic projections
and to allow them to practise their skills. The final sheet (25)
involves an exercise on dimensioning, a topic which is often
neglected in coursework. It is worthwhile getting students to
practise basic dimensioning, focusing on correct practice.
Make sure that the concept of presenting ideas to a client
forms part of a student’s understanding of ‘industrial
practice’. Explain to students that presenting their ideas
forms an important part of the work of a designer in the
real world. Working with a client is an industrial model
and therefore one which we should try to emulate in the
classroom wherever possible.
Student book chapter 2.6 – Pictorial
drawings
This chapter gives students practice in perspective drawing
and using isometric projection.
Worksheets
Worksheets 12–15 are designed to develop students’ skills
and understanding of perspective drawing. These sheets
provide differentiated activities to ensure all students are fully
engaged. Worksheet 15 is intended as a homework activity.
Worksheets 16–19 aim to help students to gain confidence
in their use of isometric projection. This is a useful skill to
practise, as an isometric image is often required as part of
the final design drawings in the exam. Worksheet 18 provides
an isometric sketching activity for homework.
Worksheets 20 and 21 provide templates for different sizes
of circles and ellipses to help speed up their design work.
When used as underlays with layout paper or low-grade 80
gsm paper, they will help students to sketch with a good
degree of accuracy. In addition, worksheet 21 can be used
when sketching with isometric projection as the templates
provide a good approximation of isometric ellipses.
Student book chapter 2.8 – Working
drawings 2: Architectural drawings
and plans
This chapter introduces students to planometric projection
(sometimes referred to as axonometric projection). This is a
traditional projection often used for pictorial representations
of architectural designs.
Student book chapter 2.9 –
Information drawings
The point of any information drawing is to convey a message.
It is therefore important for students to understand both
the message they want to get across and the audience it is
intended for. Encourage students to approach information
drawings as a new language that uses imagery, layout and
presentation to convey the original message. Throughout all
their work on information drawings, stress the concept of
simplicity: simple design, simple manufacture and simple to
understand.
Worksheets
Focusing on pictograms, graphs and symbols, worksheets 26–
29 provide activities designed to reinforce the basic principles
of good design outlined above. The use of examples using a
foreign language should help highlight to students the fact that
simplicity of design gives clarity of information and meaning.
The two worksheets on graphs and the use of imagery to
create interest (28–29) give students the opportunity to
experiment with different ways of visually representing
statistical data. Encourage freedom of expression, while
making it clear that students should aim to make the
information easy to understand. There will be good
opportunities to learn from feedback with this activity. Ask
the class to provide constructive criticism on the effectiveness
of students’ work.
Answer to 2.9 Activities 1 & 3 (SB page 33)
1 Pictograms are easy to understand as they do not involve
written language. Instead they use pictorial images to
represent the information. This means anyone from any
country should be able to understand the message of the
pictogram.
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What you need to know
While the TRF does not contain specific activities related to
these chapters, it is important for the teacher to ensure that
the principles laid out in these chapters are adopted within
students’ coursework. For example, when analysing existing
products, students should be able to explain why particular
colour choices and combinations have been made. The same
is true when designing their own products. Colour choice is
such a central element of a product’s aesthetic appeal that it
must be stressed constantly.
What you need to know
3 Graphs and charts are easier to understand as they
represent data in a visual way, enabling patterns and
variations to be quickly understood. Raw numerical data
takes much longer for the human brain to process into a
visual image.
Student book chapter 2.10 – Signs,
symbols and labels
Central to this chapter is the importance of breaking down
the barriers of language and culture. The importance of the
symbol to all forms of graphic communication cannot be
overstated. When you see a footprint in the earth, you picture
the creature that made it – such is the power of symbology.
Worksheets
The four worksheets to support this chapter (worksheets
30–33) cover road signs, communicating the message,
environmental imagery, and the use of arrows.
Student book chapter 2.11 –
Typography
It is vital for students that all study of typography is
reinforced with clear examples from magazines, posters
and advertisements designed for purpose. Typograhical
illustrations must be seen in the light of message and
audience. In addition, it is a good idea to link the teaching of
ergonomics to typography. Ask students to explain why sans
serif typefaces are always used on emergency exits and why
contrasting colours are used to aid clarity.
Worksheets
Worksheets 34–40 provide extensive opportunities to
develop students’ understanding of this most important
aspect of graphic design. From font design to typographical
layout, the worksheets reinforce the key elements of the
subject as explained within the student book and can be
used for homework or classwork, as well as to provide
extension activities.
Student book chapter 2.12 – Surface
developments: Nets 1
This and the following two chapters focus on surface
developments, which are also commonly known as nets.
In this chapter, students are introduced to the basic principles
of nets, including the line types used as part of the drawing
conventions and the use of windows for displaying the
products. It is important to impress upon students the
need to use the correct line type as this is expected in
examinations.
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Student book chapter 2.13 – Surface
developments: Nets 2
This chapter develops students’ knowledge of nets into
actual carton design. The focus is on the main types of
carton closures used: the standard tuck-end carton, as well
as cartons with slick-lock, tab-lock and postal-lock closures.
Discuss with students the advantages of each type of closure,
including their differing degrees of tamper-proofing, so that
students can make an informed choice about the type of
closure they require when designing a new carton.
Student book chapter 2.14 – Surface
developments: Nets 3
The coverage of carton types is continued in this chapter; other
common carton forms are introduced, such as the sealedend carton so widely used in supermarkets. The main focus,
however, is on the crash-bottom (or crash-base) carton. This
type of closure is used in many different types of packaging,
from sweet cartons to wine carriers, and is a key mechanism
for students to know about, understand and make.
Worksheets
Worksheet 41 contains three design briefs for students to use
in conjunction with the nets provided on sheets 41A–C.
Student book chapters 2.15 and
2.16 – Corporate identity and
Creating a corporate identity
As companies merge and diversify, their need to be
recognised and to create brand loyalty increases – hence the
rise of corporate identity design.
Worksheets
There are 13 worksheets (42–54) to accompany these
two chapters. They are designed to support the student
book by giving practical activities for students to follow.
Corporate identity design has much in common with
symbology, typography and pictogram design. By completing
the activities on these worksheets, students will have the
opportunity to reinforce valuable learning in these important
areas through their study of corporate identity design.
Answers to 2.15 Activities 1 & 2 (SB page 45)
1 Possible answers are:
• instantly recognisable
• eye catching
• easy to reproduce onto different products and materials
• gives an idea of what the company/organisation does.
2 A logo is a graphical image, which could be a combination
of symbols and words, that is used to represent a piece of
information or as a company/corporate identity.
GCSE Graphic Products for AQA: Teacher’s Resource File © Heinemann Educational 2005
A trademark is a name and/or logo, which represents a
company and solely belongs to that company/organisation.
Answers to 2.16 Activities 1 & 2 (SB page 47)
1 Companies adopt a corporate identity to identify
themselves to the consumer in a way which promotes the
values, ideas and uniqueness of the company in a positive
light.
This chapter provides students with the first of three case
studies highlighting successful graphic design. The global
phenomenon that is IKEA provides an invaluable source of
information to the budding graphic designer. The logo itself
represents the best of graphic design: it is simple and its
meaning and associations are clear. Through product analysis
of this type, students will develop an appreciation of how to
apply the principles of good graphic design.
What you need to know
2 Typical monolithic identities are:
• Shell Corporation
• Virgin
• Nike
• 3M
Student book chapter 2.17 – Case
study: IKEA
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What you need to know
5
SB 2.1
Freehand sketching exercises
Foundation
Drawing straight lines
To draw straight lines you need to hold your pencil or
pen correctly. Clamp the pencil between your thumb
and two fingers as shown opposite. Keep your hand
relaxed and, when moving, try not to rotate your hand.
Instead move your whole arm along the line you want,
otherwise you will tend to produce a curve.
Draw a square and then a series of horizontal lines followed by vertical lines. Try to keep them an equal
distance apart. Then do diagonal lines. If this seems difficult, use the grids as underlays and try to follow
each line.
Drawing circles
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drawsizethem clockwise, while others
same
Circles can be tricky to draw. Some
do them anticlockwise.
Whichever way is easier for you, try to draw a circle with a single sweep of your hand. Ghost the circle if
necessary – this means going round lightly a few times until a good general shape has been made. Then
draw round the best line with a pen.
Draw a series of concentric circles within each of the circles below, trying to do each with one sweep.
Then try producing your own circles without any aid.
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Freehand sketching ideas
using geometric shapes
SB 2.1
Core
Below is a series of geometric shapes and lines. By combining these in a variety of ways, it is possible
to come up with an almost limitless set of visual structures. These can then be developed into a suitable
graphic product, for example, a packaging shape, a logo or symbol.
What you need to know
Here are some examples of what can be done.
On a separate sheet, use the shapes and examples given here to help you create your own ideas for any
design task.
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What you need to know
7
Using crates to create a
freehand isometric drawing
SB 2.1
Extension
A useful way of constructing a drawing or sketch is to draw a simple box or crate which will enclose the
object you to want to draw. This is known as crating. In the sequence below the drawing of a sellotape
holder is developed. Use the technique and try to copy each stage yourself.
1
2
1 Draw the crate.
2 Draw the basic outline
carefully.
3 Add the major detail first.
4 Then add smaller details, such
as curves.
5 Check that the drawing looks
3
4
correct – adjust any parts by
rubbing out and redrawing.
Then go over the main lines
with a thicker pencil or
marker pen.
6 Finally, rub out all the crating
lines and add any rendered
finish as required.
5
6
Extension
Now try to create an object of your own choosing. Stick with rectangular objects to begin with while
you gain confidence, and then move on to more difficult shapes.
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Colour rendering exercise –
light and shade
SB 2.2
Core
What you need to know
Colour render the shapes shown, imagining a light source is coming from the direction of the arrow.
Use any suitable rendering media.
Tips
• Very shiny surfaces reflect a lot of light and will be affected by reflections from the surface they are
standing on.
• On a matt surface all the reflections are lost, leaving only a gradual tone across each face. The top
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• Take care to blend in your crayon or marker – build up the tone and reflections gradually. Internal
same size
edges will reflect light, so use a white crayon to show this.
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9
Rendering exercise –
disposable razor
SB 2.2
Extension
What you need to know
Shown below are two views of a disposable razor. Using marker pens and colouring pencils, render
the razor in colours of your choice. You might want to cut it out afterwards and mount it on a suitable
backing.
Rendering tips
• Use a broad marker to coat the razor using swift motions. Leave some thin areas to represent
reflections.
• D&T
UseforaAQA
darker-coloured
marker to highlight edges and shadows.
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•
Use
a
white
crayon
to
add
reflections on edges.
same size
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10 Rendering exercise –
mp3 music player
SB 2.2
Extension
Shown below is a typical mp3 player. Using marker pens and colouring pencils, render the player in
colours of your choice. You might want to cut it out afterwards and mount it on a suitable backing.
MP
3
ME
What you need to know
st
yli
a
l
P
st
yli
a
l
t
P
lis
y
a
t
Pl
lis
y
a
t
Pl
lis
y
a
Pl
NU
Rendering tips
• Use a broad marker to coat the mp3 player using swift motions.
Leave some thin areas to represent reflections.
• Use darker colour marker to highlight edges and shadows.
• Use a white crayon to add reflections on edges.
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What you need to know
11 Rendering exercise –
SB 2.32
tone and shade
Core
Render each of the 3D relief ‘design’ blocks using colouring pencils or markers, or a combination of the
two, to show the different reflective properties of the surface textures indicated.
1 Bright plastic
2 Cast metal
Tip
Remember
that edges
reflect light.
Use a white
pencil to
highlight
this or leave
the edge
unrendered.
3 Wood
4 Any matt colour
Extension
• Add thick and thin lines.
• Add shadows to the base of each block.
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12 Drawing objects using
SB 2.6
perspective drawing
Core
Perspective drawing is a method of producing a realistic 3D drawing. It represents how the human eye
puts an object into perspective when it views it. Objects that are near appear to be larger than objects
that are further away. As an object recedes into the distance, it appears to decrease in size until it reaches
a point where it disappears (the vanishing point). A good way of seeing this is to look down a row of
terraced houses or along a straight road.
General rules
1 All perspective drawings have a viewing line, or horizon, from which the object is sighted. An object
may appear below, on or above the horizon line.
2 Somewhere on the horizon line the vanishing point will be positioned. This point is where all the
lines on your drawing will end up.
One-point perspective (below horizon)
One-point perspective (above horizon)
Vanishing Point
HORIZON
Two-point perspective
VP
HORIZON
VP
One-point perspective uses just one
vanishing point and is the easiest to
draw. You start by drawing the front face
of the object.
Two-point perspective is perhaps
one of the best methods for creating
a realistic drawing of an object. It has
two vanishing points and you start by
drawing the front corner of the view
– this is the only part you can draw to
true length. All other dimensions are
relative to it.
Both methods are useful when
producing presentation drawings, which
require realism, like in interior design or
producing a packaging concept.
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What you need to know
HORIZON
13 One-point perspective
lettering
SB 2.6
Core
Draw the projection lines on this drawing for the remaining letters.
Add colour tone and shading.
What you need to know
VP
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14 One-point perspective for
drawing interiors
SB 2.6
Extension
This drawing is a view of the back wall of a room. The real measurement of a room could be used, then
scaled down to a suitable size, such as 1:50.
The cupboard unit has been drawn in proportion to the room. The measurements of the side and bottom
lines, where the unit would fit against the wall, have been projected forward. A grid has also been included
to help establish depth. Note how the gridlines are wider apart as they project away from the wall.
back wall of room
height line
eye line
VP
height of unit
depth of unit
Draw the basic outline for the interior of a room and then draw in items of furniture and room features
using the methods described above. A3 paper is best as it gives you more space to work in.
Tips
Make sure your projection lines are faint. Draw objects nearer to you first.
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What you need to know
floor line
15
SB 2.6
Perspective drawing homework
Core
What you need to know
Complete a one-point perspective drawing and a two-point perspective drawing of a regularshaped object found in the home. Sketch them in the boxes below, using the vanishing points shown.
Extension
Redraw each object on another sheet, with the vanishing points in different positions: lower down or
further towards the left or right.
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16 Drawing objects using
SB 2.6
isometric projection
Core
Isometric projection is a type of drawing in which a 3D view is created by making the horizontal planes
of an object tilt at an angle of 30°. There are two basic rules to remember:
1 All dimensions of an object are drawn to their actual scale size. (The word iso means equal and
the word metric means measure.) So a 50 mm cube should have all sides drawn 50 mm long. This
technique can make objects look a bit odd, as no perspective is added.
2 Always start by drawing the front corner of an object.
30°
30 °
Note also that only three
sides of an object are visible.
In the space below complete the isometric drawing of a cube. The first part is drawn for you. Remember to
start with the front corner of the object. Then have a go at drawing the object shown on the grid.
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What you need to know
An isometric grid is useful for sketching. Use it
underneath your design sheet as a line guide.
17 Creating print-effect text using
SB 2.6
isometric projection
Core
Printed words all have measured gaps between the letters and are created inside boxes of a standard size
depending on the letter style. Being able to draw print-effect lettering using isometric projection can be a
useful technique for producing the graphics on a piece of packaging or a similar product.
Follow the steps below to produce your own text using isometric projection. This task can be quite
difficult but these stages should make it a little easier.
1 Draw guidelines using faint
spaces between each letter
pencil lines. Then draw each
letter in the box – choose a
simple block style to begin
with.
2 Now extend the guidelines
faint guidelines
down and draw two
isometric lines using a 30°
set square. Make sure the
distance between the lines
is the same as the height of
the letters you have drawn
above.
3 Now you can carefully draw
What you need to know
each letter in the boxes you
have made. You may want
to add more isometric lines
to help draw each part of
the letter.
Extension
Practise drawing lettering on horizontal planes as well as vertical faces – like the top surface of a piece
of packaging.
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SB 2.6
Isometric sketching homework
Core
Using the grid below, draw an everyday object found in the house or classroom. Try to sketch freehand,
drawing either directly on top of the grid or using it as an underlay.
What you need to know
Add some shading to give the drawing texture and colour. Use the thick and thin line technique shown
on page 18 of the student book.
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19
SB 2.6
Isometric drawing exercise
Extension
What you need to know
Use a 30° set square or isometric grid underlay to draw the objects shown on this page. Choose a
suitable scale size for each one.
Extension
Add thick and thin lines to each example (see the armchair example on the right) and then some
colour tone to create texture and shading.
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SB 2.6
Circle template
Foundation
What you need to know
Use the circle template as an underlay for sketching circles. This will help to speed up the process of
designing as drawing circles using a compass is very time-consuming.
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21
SB 2.6
Ellipse template
Foundation
What you need to know
Use the ellipse template as an underlay for sketching in isometric projections. This will help to speed up
the process of designing as drawing ellipses can be very time-consuming.
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SB 2.7
Orthographic projection
Extension
Complete the missing view or views for each orthographic drawing shown below.
1 Add any construction lines needed to complete the side elevation on A and the plan view on B.
A
B
2 Look at the two solids shown at the bottom of the page. Then identify each of the views shown above
What you need to know
them: plan view, side elevation and front elevation. Shade in each view using a different colour, and
then apply the colour to the corresponding view on the solid figures – each view should match up.
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What you need to know
23 Third angle orthographic
drawing – method 1
SB 2.7
Foundation
The method described here is the simplest way of doing third angle orthographic drawing and will
familiarise you with the principles involved.
1 Place a simply shaped wooden block on a sheet of paper
in the position shown, and trace around it.
This view is called the front elevation.
2 Now look at each side of the wooden shape (looking in the directions shown by the arrows) and draw
what you see from that view of the shape.
3 You will end up with all the views as shown below. For a simple object, three side views are normally
sufficient but in complex drawings, many subsidiary views may be needed.
Plan
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Side
Side
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24 Third angle orthographic
SB 2.7
drawing – method 2
Extension
The method described here is the most widely used method of
producing working drawings.
The following six steps show how to draw the point of sale display
box shown here. You can then apply these steps to other products.
Tips
• Use a 2h or 4h pencil.
• Use a drawing board and tee square with a set of set squares.
• All construction lines should be faint.
• Label the views and add dimensions.
1 Draw plan view in position shown.
4 Add construction lines to the right – horizontal.
Add a 45° line projecting from corner edge of
front elevation.
What you need to know
45 degree line
5 Draw side elevation using construction lines –
note that the construction lines for vertical
edges project from the 45° line.
2 Add vertical construction lines.
Construction lines
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3 Draw front elevation using construction lines.
6 Finish – your drawing should look like the
example.
50
Plan view
Hidden detail
Side
elevation
75
Front elevation
100
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Dimensioning exercise
Extension
The orthographic drawing below has been dimensioned so that some features, i.e. the 10 mm wide slots,
are dimensioned from each other. Sometimes, this is called incremental dimensioning.
1 Using a tolerance of +/–1mm, calculate the maximum and minimum dimensions of all the features
from datum faces A & B.
2 Draw the slotted block and re-dimension it so that the position of all features is no greater or smaller
than 1mm from Datum’s A & B. This is sometimes called absolute dimensioning.
Make sure you use the correct methods for producing dimension lines, arrows and lettering.
This is a good exercise to do both on drawing boards and using a 2D CAD package.
3 In what situation would each type of dimensioning be used?
60
130
10
10
10
10
10
10
10
10
10
10
10
10
60
Datum A
10
What you need to know
SB 2.7
25
All dimension in MM
All corner and edge radi 2mm
Datum B
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SB 2.9
Pictograms
Foundation
This is part of a map for a French amusement park, which receives visitors from all over the world. The
pictograms on the key are designed to help people understand the facilities on offer.
Pick four pictograms that you like and draw
them bigger in the boxes.
A
C
B
D
A
C
B
D
What you need to know
What does each pictogram mean? Write its meaning in the space given.
How do they differ from what you might see in this country?
Could they be mistaken for something else? If so, how?
How could you improve their clarity. Draw new versions
for two of them in the boxes.
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What you need to know
27
SB 2.9
Keeping it simple
Core
The best quality pictograms are the simplest and most easily identifiable. One way to achieve this is to
keep the number of colours to a minimum. Pay careful attention to use of the applied colour and the
shapes it creates on the background colour.
Draw a pictogram for the areas for two different subjects at school, using only one colour on a white
background.
When you have finished, make your pictograms actual size by cutting the images from coloured paper
and fixing them to white card.
Rough ideas
Idea 1
Idea 2
Subject:
Subject:
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SB 2.9
Using graphs
Extension
Carry out a survey in your class using the following questions.
1 What month is your birthday?
2 Do you prefer summer or winter?
3 Which is your favourite TV soap?
4 List your five favourite shops.
1
3
2
4
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What you need to know
Now select a graph type to display the results for each question. Think about the style of the question
and the type of answers you have got. Choose from: pie, line, bar, pictogram or other types that you
know. Draw your charts in the boxes.
41
29
SB 2.9
Fun graphs
Foundation
When you present data in a graph remember to think about what you want to say and who you want
to tell; the resulting graph can be quite boring if you are not careful. Using your graphic skills you could
deliver the information in a variety of fun ways. Pick an appropriate image based on the data and use your
imagination, remembering to label the axes or include a key to explain your graph.
A
A
B
C
D
Red
Blue
Yellow
Green
B
50%
20%
20%
10%
C
D
This graph tells you which colour
pencil is the most popular.
What you need to know
5
The faces on this graph show
how popular a new flavour of
smoothie is.
4
number of
pupils
3
2
1
tastes nice
42
tastes horrible
not sure
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SB 2.10
Road signs
Extension
The designs for these road signs follow strict rules and have a common style. They give warnings or orders
to road users, using simple shapes, colours, words and imagery.
Create new road signs to communicate the following messages.
5 Do not use your mobile phone.
2 No eating while driving.
6 Cyclists stay on the left.
3 Pedestrians cross here.
7 You can park here (without words).
4 Heavy goods vehicles in this lane.
8 Now make one up yourself ...
What you need to know
1 Slow down (without words).
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What you need to know
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SB 2.10
Communicating the message
Foundation
This photo shows a road sign indicating that hitching a ride is not allowed anywhere on this stretch of
road. Its aim is to keep traffic flowing and to warn drivers not to stop.
However, the sign might mean something completely different to someone from the UK. In the UK, this
hand signal is commonly used to mean ‘good’ or ‘well done’.
What else could this road sign mean?
Where else could it be placed to give it other meanings?
Design your own version of the ‘no hitchhiking’ sign to make the meaning clear
to someone from the UK.
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SB 2.10
Environmental imagery
Core
This butterfly image indicates that the bag is
beneficial for the environment. The use of this
fragile and beautiful animal, the colour green, the
phrase ‘eco’ and the style of the print all reinforce
the same message.
What you need to know
Collect examples of signs and labels that indicate
environmentally friendly goods, activities or
companies. Draw or stick them on this page. Look
to see what is similar about them and discuss
the themes that appear. Why do you think these
symbols and signs are used?
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SB 2.10
The use of arrows
Core
Arrows are frequently used in graphics to communicate movement and the direction of movement.
Depending on the way they are drawn, they can be used to convey quite complex messages without
the need for written explanations, for example movement in 2 or 3 dimensions as well as the speed of
movement. Styles can vary from traditional to modern, but they all ‘point the way’.
What you need to know
Think of six different ways in which an arrow can be used to convey movement – sketch each one to
illustrate its effectiveness. (For example: turning the volume up on a radio, flicking a light switch, ‘you are
here on a map’, etc.)
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SB 2.11
Designing a new typeface
Extension
Use the boxes to help you design new and fun typefaces. Take care to keep the style the same; use the
guidelines. You will probably find that some letters are trickier than others.
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
What you need to know
Example:
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SB 2.11
Variety of typefaces
Foundation
Collect six different typefaces from magazines and newspapers and paste them onto this page. Try to
make the range as wide as possible. For each typeface write three distinguishing characteristics that it has
and how these characteristics make the typeface appeal to its market.
Characteristics
Stick example here
Characteristics
Stick example here
Characteristics
What you need to know
Stick example here
Characteristics
Stick example here
Characteristics
Stick example here
Characteristics
Stick example here
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SB 2.11
Meaning of typeface styles
Extension
Look at the list of seven descriptive words below. Try to find an example of a style of typeface that
makes you think of each word. Copy each example next to the word, then briefly explain why you think
it is a good choice for that word. You could search for typefaces on a computer, in publications or on
product packaging.
Word
Example
Explanation
Happiness
Sadness
Summer
Cold
The future
Sharp
Are any of your typeface choices more successful than others? What is it about the design and layout of
these typefaces that makes them more successful?
‘It’s not what you say but how you say it.’ How does this phrase relate to the use of typefaces in
advertising?
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What you need to know
Young children
What you need to know
37
SB 2.11
Typography reference sheet
Extension
Use a computer to create your own typography reference sheet. Use your own ideas as well as the ones
shown here to represent the main typographical styles and techniques..
Times New Roman 6 point
UPPER CASE
Times New Roman 8 point
Times New Roman 10 point
lower case
Times New Roman 12 point
Times New Roman 16 point
Bold
Times New Roman 24 point
Italics
Sans serif typefaces
Serif typefaces
Specialist typefaces
Arial
Bell Gothic
Comic Sans
Gill Sans
Lucida Sans
Tahoma
Baskerville
Georgia
Lucida Bright
Modern No. 20
Perpetua
Times New Roman
Blackadder
Bauhaus
Chiller
Jokerman
Lucida Handwriting
Old English Text MT
left justified
centre justified
right justified
Now research each of the typographical terms listed below. You can either write about them or put
examples here.
Headers
Subheadings
Footers
Kerning
Density
Numbering
Layout
Leading
Tracking
Captions
Lines
Borders
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SB 2.11
Visual impact
Core
Using different coloured lettering, background colours and borders can have a big effect on the visual
impact of your chosen typeface. Look at the five ways this upper case serif typeface R has been printed.
Which one is the easiest to see (stands out more)? Why?
Ask someone to hold up the sheet at a distance from you. What is your opinion now? What features
make each letter more or less visible?
R
R
R
R
R
Try out some typeface styles in the boxes below. Change the colours and backgrounds to see which is the
best way (and the worst way) of presenting the lettering.
What you need to know
Remember to look at your work from a distance as well as up close.
Which of your typeface styles works best and why?
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SB 2.11
Wrapping text
Extension
When applying text to the 3D image of a product you are designing, remember that the writing must
appear at the same angle as the drawing. You need to first plan your text in 2D and then transfer it
carefully to the 3D drawing.
The illustration below shows one panel of a box. Using the two central lines as guidelines for the top and
bottom of your text, write the product name in 2D. Then transfer the text to the 3D panel.
Now plan a graphic layout with text that will cover two joining faces of a cube. Plan it on the 2D faces on
the left, and then transfer it to the cube. Remember to use additional lines to help you.
Can you also take the text onto the top panel? What angle should it be at?
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SB 2.11
Planning titles
Extension
When creating an idea for the layout of text, the first stages are done by hand. Later the layout is precisely
measured using a CAD program.
DREAMS is a holiday company. In the company’s next promotion, they want to use the image of the sun
rising over a sandy beach.
1 Write the word DREAMS in a typeface of your choice in
D
R
E
A
M
S
What you need to know
the six boxes. Then transfer the letters into the boxes
that are radiating from the sunset design. Make the
letters fill the boxes.
2 Now write the word HOLIDAYS underneath the central line. Plan the position of each letter and draw
in guidelines.
3 Finish off the design by drawing an appropriate image in the centre. Can you incorporate the lettering
in your image? Try to make it look like a professional product where every part is linked to the others.
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What you need to know
41
SB 2.12–2.14
Net development design
Core
Once a net has been made of a possible package development, it is the graphic designer who adds the
images and text.
Below are three design briefs relating to the net developments on worksheets 41A, 41B and 41C. Read
each brief and decide which one you would prefer to work on. Use ICT to scan the appropriate net shape
into a suitable software package. Then use the software to create your design.
Brief 1: Chocolate box (net 41A)
A brand of chocolate is to be launched called ‘Cruncher’. The product is designed to be a ‘healthier’
snack bar. The main target market is children aged between 5 and 12. It is anticipated that the product
will be used as a sandwich box filler for school lunches. The chocolates are the size and shape of a 10p
piece and will be individually wrapped in coloured foil.
Brief 2: Candle holder (net 41B)
A new range of scented candles is to be launched to take advantage of the current popularity of
aromatherapy relaxation remedies. Each candle will be in a glass container colour coded to represent
each type of scent used. The candles will be sold in high quality gift shops, chemists and by mail order
over the internet. The target market is young women aged 15 and above.
Brief 3: Carry handle box (net 41C)
This box has been designed to carry a puzzle consisting of hardwood shapes, which interlock to form
a cube. The puzzle is to be sold in craft shops, toy shops and in large retail outlets such as department
stores. The puzzle is suitable for all children aged 7 and above.
For each of the above briefs you will need to produce the following:
• a mood board – a collection of imagery mounted on A3 (objects, colours, styles, people, etc.) related
to the target market. Many magazines are aimed at specific target groups and are a good resource.
This task could be done in groups so that you have a wide range of visuals to help generate ideas.
• a range of annotated layouts showing a variety of different possible outcomes. These do not have to
be fully rendered but you must evaluate them to see which one(s) best fit the requirements of the
brief.
• a final development, or ‘proof’, of the best design layout, including:
– a recycling symbol
– a bar code
– instructions (if required).
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41A Net for chocolate box
Core
What you need to know
– with clip closure
SB 2.12–2.14
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SB 2.12–2.14
Net for candle holder
Core
What you need to know
41B
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41C
SB 2.12–2.14
Net for carry handle box
Extension
75°
78
80
50
40
60°
60
40
78
50
What you need to know
45°
40
40
40
60°
80
40
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SB 2.15
Imagery and copyright
Extension
At first glance this student is wearing a jacket made by
a well-known sports brand. On closer inspection you
can see that it is in fact a variation on the well-known
corporate identity. The designer has used the overall
image and style of the corporate identity, but has subtly
altered the divisions in the lettering.
Note that if this is done to make money or deliberately
fool the consumer, it is an illegal act!
What you need to know
Think of four major brands which have strong overall identity designs. See if you can change them so
that at first glance someone might think they were the original. Draw your ideas here. It must be clear
that they are subtly altered copies when they are inspected closely.
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SB 2.15
Responding to change
Core
er
ft
A
Be
fo
re
A member of the public thought that the logo used by Little Chef was not in keeping with modern
concerns about obesity and the eating habits of young people. She complained to the company that the
original, shown on the left, represented a young person who was rather overweight. In response to her
comments, the company produced a trimmer, more mature figure for their logo, shown on the right.
What you need to know
What changes have been made and how has the overall corporate identity been kept the same?
Write your comments in the boxes below.
Changes
Similarities
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SB 2.15
Rebranding
Foundation
Companies sometimes change their
corporate identity in a process called
rebranding. There are a number of
reasons why a company might do this.
When BP merged with another company,
they chose to change their image. Usually
the changed brand retains some elements
of the previous design.
Give five reasons why a company might
decide to change its corporate identity.
1
2
3
What you need to know
4
5
Think of a well-known corporate identity
and, using one or more of the reasons
you wrote above, rebrand it. Draw the
before and after designs in the boxes.
before
after
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SB 2.15
Who is the target market?
Core
Breaking down the general public into age groups so you can categorise them into target markets is hard,
as the ages don’t easily fit into regularly sized groups. When looking for an age range that will respond to
your corporate identity, often you need to consider that age group’s lifestyle as an important factor.
In the box next to each of the age ranges below, describe that age group’s preferences and priorities in
life. What type of market does each section represent to the retail business?
0 – 2 years
3 – 4 years
5 – 8 years
9 – 12 years
13 – 16 years
What you need to know
17 – 20 years
21 – 25 years
26 – 35 years
36 – 45 years
46 – 55 years
56 – 65 years
66 – 80 years
81 – 100 years
How else could you divide up the years to make the target market easier to manage?
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What you need to know
46
SB 2.15
Trademarks
Extension
Trademarks are simple and easily recognisable pictorial or written labels that belong (legally) to a
company. They are often strongly associated with the main company corporate identity.
Collect 4 registered trademarks and stick or draw them in the boxes below. Describe one good and one
bad point about each trademark in the Discussion box. Write down the name of the company and the
product it came from in the relevant boxes.
Trademark 1
Trademark 3
Discuss
Discuss
Company
Product
Company
Trademark 2
Trademark 4
Discuss
Discuss
Company
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Product
Company
Product
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identity
SB 2.15
Foundation
Keeping the corporate identity simple is often very important. The
customer needs to be able to identify the company and possibly
their products quickly and easily.
Take a page from the Yellow Pages or your local newspaper. Find
two black and white advertisements for similar companies. Stick
them in the spaces below.
What are the key elements of each advert? How are they similar
or different? What can you learn from the overall look of the
advertisements? How could they be improved? Do their target
markets differ?
Advert 1
Key features
Good / Bad points
What you need to know
Stick advert here
Possible improvements
Advert 2
Key features
Good / Bad points
Stick advert here
Possible improvements
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SB 2.15
The wrong name!
Foundation
Sometimes companies get it wrong. We live in a global market place, which means we sell our goods
throughout the world and across lots of different language barriers. Any new corporate identity must be
thoroughly checked out, otherwise it could confuse or even offend some people, and as a result lower sales.
Can you think of any advertising that you have found confusing, strange or offensive?
What you need to know
This newspaper article gives a few examples.
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Getting the message across
Foundation
When you name a company and use it in the corporate identity, there are two main choices: you can describe
your business (e.g. Toys’r’Us ) or you can try to create a universal name that might convey a style (e.g.
Qinetiq). Either way, you must attract the right target market and create the right image for your business.
Find five company names which obviously tell you about their business.
1
4
2
5
3
Which one is the best and why?
Find five company names which leave it unclear what their business is.
1
4
2
5
3
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What you need to know
Which one is the best and why?
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What you need to know
50
SB 2.16
Coming up with ideas (1)
Core
Design a corporate identity for a new fast food restaurant which is coming to your local area. Think of a
simple name and the main style of food to be sold.
Draw 8 images that you associate with the chosen food style of your fast food restaurant. Explain each
idea.
Write the name of the restaurant in full in 4 different typefaces. Explain each idea.
Just using outlines (for instance, based on the chosen food), draw 6 possible shapes for your corporate
identify. Explain each idea.
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Coming up with ideas (2)
Core
Design a corporate identity for a new fast food restaurant which is coming to your local area. Think of a
simple name and the main style of food to be sold.
Create two whole corporate identity designs by combining some of the ideas you have already generated.
Select a shape, an image and a typeface style from your previous work. Combine them to make a
complete corporate identity. What works well in your design and why?
Selected
Rejected
What you need to know
Select a shape, an image and a typeface style from your previous work. Combine them to make a
complete corporate identity. What works well in your design and why?
Selected
Rejected
Get the opinions of two other people and then select the best design. Why is it better?
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SB 2.16
Know your market
Foundation
When creating a new look for a company, it is vital to reflect the tastes of your intended target market.
This can be done by investigating what is already currently attracting them. Collecting together images
and mounting them is known as creating a mood board.
My product is:
Age group:
Gender:
Lifestyle:
Select a popular product and write its name
in the box above. Then decide on the most
appropriate target market: write the age range,
gender and lifestyle in the boxes. Try to be
specific – anyone can buy the product but who
is it targeted at?
What you need to know
Next cover this grey box with images that
you associate with this group of people. It’s
important to use your imagination here.
When you have stuck all your examples
down (you can overlap them – make it look
interesting), explain your choices in the space
around the outside.
Some ideas to get you started: holidays,
houses, chocolates, drinks, famous people,
sports, leisure time, places, colours, shops, TV
programmes, games, cars, gadgets, cartoons,
music, magazines, toys, films, books.
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Using CAD to speed things up
Extension
There are many computer programs available that could help you with your design. For example, Microsoft
Office program Publisher has wizards to help you create fast and effective corporate identities.
Follow the steps below to create your own range of products with the same corporate identity. For this
activity, concentrate on creating a range of paper products, such as business cards, flyers and posters.
1 Load up a suitable program and look for the prompts to take you to the wizards. These are sections
of the program specifically designed to help you. They contain many shortcuts, hints and easy to follow
steps.
2 Select the publications for print. Look through all the types of products the program could help
you with. Remember that a corporate identity is something that appears on as many products as
possible to identify the maker.
Anton
3 Choose business cards.
Your Title
4 Select a style that you like. Don’t worry about the
Business Name
colours and details as these can be changed. When
you have chosen a card style, begin to work through
the elements of what it looks like. You will find that
you can change everything.
Organization
Primary Business Address
Your Address Line 2
Your Address Line 3
Your Address Line 4
Phone: 555-555-5555
Fax: 555-555-5555
E-mail: [email protected]
5 Try altering various parts. You can change the
6 To personalise your business card remove the
Mr A Bacus
Managing Director
What you need to know
typeface type and size, the colours, as well as move
lines and boxes. You can even remove and replace
bits you do not like.
THE BUSINESS OF DOING BUSINESS
given logo and choose your own from clip art or one
that you’ve created yourself.
The Warehouse
Factory Estate
Workington
BA14 41AB
Phone: 555-555-5555
Fax: 555-555-5555
E-mail: [email protected]
7 Now go back and select another type of
publication, for example a flyer. Try to create your
new publication type with a similar identity to your
business card.
BUSINESS NAME
Your business tag line here
The Business of Doing Business
8 Carry on to create a range of products with a
similar identity.
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BUSINESS NAME
Primary Business Address
Your Address Line 1
Your Address Line 2
Your Address Line 3
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SB 2.16
Making it fit
Foundation
The basic shape of an identity is very important, especially if you have to put it onto oddly shaped objects.
Try fitting this design onto the shapes below.
What you need to know
To keep it clearly readable you will have to alter it. Record what you did to make it fit and why.
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