PRIMED 2023

YEAR 12 VISUAL ARTS EXHIBITION Showcasing work from IB Visual Arts VCE Art Making and Exhibiting VCE Media VCE Visual Communication Design Sunday 15 October 2023 Geelong Grammar School Cover Image Credits Carl Sun (Yr12 FB)

08–25

64–87

IB VISUAL ARTS

VCE MEDIA

Ellie Austin

Piper Carter-Williams Mikayla Dowd Verity Duff

Simon Meier Sam Pearce Carl Sun

Zhi Tao Xu

26–63 VCE ART MAKING AND EXHIBITING Zoe Armytage Bella Beck

Eden Blake

Skye Calvert-Jones Lulu Di Sciascio Olivia Gatenby Indigo Hunter

Lucia Jenkins

Yathima Jennings Sophie Kestel Ava Mcevoy Milla Naylor

Ruby Plummer

Georgina Radford

Annie Vickers-Willis Brooke Warner Tom Wilson

Charlee Woodman

Amelia Charleson Joshua Colley Zara Cooper

Remy Disney

Niah Dorward Isabel Furphy Ella Holt

Archie Maclachlan Josh Rees

Brooke Warner Sasha Wood

88–113 VCE VISUAL COMMUNICATION DESIGN Zoe Alpherts Skye Calvert-Jones Zara Cooper Georgia Danckert Emily David Jemima Fitzgerald Gustav Foletta Claire Hamilton Sophie Kestle Hugo Knights-Burke Griff Perret Liam Yau

INTRODUCTION — PRIMED 2023

FROM THE HEAD OF VISUAL ARTS

Welcome to the PRIMED 2023 Exhibition. The display includes the works of students involved in IB Visual Arts, VCE Art Making and Exhibiting, VCE Media, and/or VCE Visual Communication Design.

The title of the show is not accidental.

According to the Oxford dictionary, PRIMED means “prepared for a situation so that an individual knows what to do, especially after being given special information”. The exhibition showcases projects of students who over the last two years have been impacted by the Visual Arts. They have received their “special information” to take them into the next level. Whether they will choose to pursue Art and Design education further or not is, at this stage, uncertain. The feedback from the students who have completed the subjects in the past would suggest that many will. Either way, they will bring new perspectives and energy for creativity into any academic field they may pursue.

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INTRODUCTION — PRIMED 2023

There is much talk in the media and in our own school about creativity, innovation and the unfolding impact of Generative AI tools on knowledge and creator economies. Visionaries drive rapid technological advancement, measuring

progress in days, not years. They predict that Generative AI will reshape schools, teaching and student development. Reportedly, AI is poised to revolutionise Art and Design education, in numerous ways. First, by potentially serving as a powerful tool for creative inspiration, assisting students in generating ideas and concepts.

AI-driven platforms could provide instant access to a wide range of artistic styles, techniques and historical references, enriching students’ understanding of Art and Design’s evolution. Additionally, AI could enhance the learning process by offering personalised tutorials and feedback. However, challenges may arise, such as concerns about AI-generated art and/or designs replacing the authenticity of human expression.

The current PRIMED exhibition demonstrates that while we are not there yet, balancing the integration of AI tools while nurturing individual creativity will be essential. If we want our Art and Design students to succeed, our future studios will need to provide a harmonious blend of technological innovation, human ingenuity and ‘old school’ practical skills.

While Generative AI, particularly in the field of neural networks like Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs), has demonstrated the ability to create novel artistic styles by analysing existing artworks and generating new pieces that exhibit distinctive characteristics, holistic approach to art-making or designing (e.g. built environments) goes beyond AI’s current capabilities. While AI can automate certain tasks and provide design suggestions, the decision-making, creativity, empathy and deep understanding of human preferences and contexts remain areas where human professionals excel.

Luckily, the School recognises this important distinction, and the students are

given an exclusive opportunity to experiment with different media and materials in a variety of purpose-built venues like the darkroom, painting, printing and ceramics studios, and the computer lab (known as ‘MacLab’). They are also given

a chance to observe and work alongside leading contemporary Australian artists and experience first-hand the creative processes of prominent Melbourne-based design studios.

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Understanding the value of experimentation, resilience, learning from mistakes, determination to succeed, perseverance, humility and, most of all, hard, honest work for their creative practice, provided further “special information”.

Looking around the three display spaces – Sinclaire Centre, Hirschfeld Mack building and Senior Art School, and the works exhibited therein – it is easy to see the effects of “priming”. The artworks and designs on display are a culmination of sweat and tears shed over the course of the students’ journey. As they advanced, and especially through the past two years of their study, the students were developing their investigative, analytical and reflecting skills. They strove towards an appropriate form and the highest level of resolution to attain full ownership of their artistic development. Furthermore, they also worked effervescently to respond to specific briefs and self-guided challenges.

INTRODUCTION — PRIMED 2023

This year, we were privileged to host three exquisite Artists-in-Residence: Harley Manifold (M’00), Barbie Kjar and Robert Hague. Our guests not only generously shared their knowledge and skills but, importantly, discussed their life stories.

In the process, they created works that express how they perceive and respond to the specific design needs of the world around them. The visual thinking helped them to express what it is that they feel and what they see. Being “prepared for a situation”, our students “know what to do”, and thus receive skills for life, skills for living. The artefacts they produced showcase higher-level thinking, physical presence, sensory perception and the intuitive creativity that comes from human experiences and emotions; essentially, ‘the human touch’, aspects challenging for AI to completely replace.

The Visual Arts Department, as well as the School, would like to acknowledge the effort, determination, perseverance and, ultimately, the wholesome development that so many of our students have demonstrated, especially through the past two years.

The students are truly PRIMED. We wish them well in their future endeavours.

Dr Peter Bajer Head of Visual Arts

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IB VISUAL ARTS — PRIMED 2023

I NTERNATIO NAL BAC CA L AU R E AT E

VISUAL ARTS

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ELLIE AUSTIN (HE) The Greek word ‘Metanoia’ is the concept behind this Exhibition. Metanoia is the transformative journey of changing one’s heart, self, mind, or way of living. Employing symbols that embody the themes of development and growth, the exhibition aims to depict my personal life journey. What experiences have shaped me and will in the future, to establish my identity, expand my sense of self and eventually define what metanoia means to me.

Each artwork within the exhibition captures a fleeting moment in my life, shedding light on the transition from childhood, adolescence, to old age. As the exhibition progresses, the audience recognises that the objects drawn become more complex and symbolic where the oak frames surrounding each artwork become a testament to the connection between past, present and the evolution of life; the final reflection of ‘metanoia’, interconnecting every experience lived to shape my identity.

At the centre of the exhibition there are three self-portraits. Adventure is a portrayal of my 3-year-old self, adorned with dandelions and daisies. They show the simplicity of early experiences, my physical growth, innocence and joy. The negative space around the flowers reflects the amount of growth left to experience.

Courage captures me as a 17-year-old, wrestling with beauty standards and the pressure to conform, yet also highlighting the courage of staying true to myself. The previous flowers are still included; however, lilies, peonies and pear blossoms are added. These signify love, good luck and longevity.

Gratitude envisions me as a 70-year-old woman. I blended the features of my own face with those of my mother and grandmothers; all significant women in my life, who have influenced my sense of self. There are numerous flowers sprouting from my head symbolising love, friendship and gratitude. They indicate the continuing growth to learn, and the discovery of beauty and joy until the end of my lifespan.

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Below: Gratitude, graphite pencil on water colour paper

IB VISUAL ARTS — PRIMED 2023

Left: Adventure, graphite pencil on water colour paper

Above: Courage, graphite pencil on water colour paper Right: Close up of Courage

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Memento Mori, oil pastel and graphite pencil on watercolour paper

PIPER CARTER-WILLIAMS (GA) Recollections concerns itself primarily with the innate human relationship between objects, memory and character – exploring humanity’s fundamental motivations behind collecting tokens of sentimentality. Examined through the lens of storytelling, Recollections establishes a narrative behind each seemingly mundane collection of objects depicted.

Drawn from personal experience and an intrigue towards the contextual relationships between objects, legacy and narrative, many of my artworks are inspired by real-world recollections of people around me. Subsequently, many of these artworks are captured from reference photos curated, arranged, and taken by me, as in artworks Keepsieck, An Apple a Day, and Re-lick. In order to establish the linear, story-telling quality of my exhibition, I have kept consistent the use of long, rectangular canvases in reflection of narrative linearity. The entirety of my exhibition lacks contextual backgrounds; a feature drawn from New York artist Candy Jernigan and local artist Bridget Thomas. This is a feature which I believe successfully enforces full contemplation of the objects at hand.

Additionally, part of my exhibition has been completed on a collection of plywood blocks recycled from my family’s past renovations. Considering the concern of my exhibition, I thought this personal and re-purposed aspect particularly fitting.

Through the establishment of these concepts through my artwork, I hope my audience is prompted to consider society’s emotional and nostalgic association between objects and memory, but also the interconnectedness between artefacts and storytelling.

I intend to encourage audiences to implement the leanings of my exhibition in examination of similar situations in their own lives and the lives of people around them, in hope that they will develop a deeper and more compassionate understanding of humanity’s predisposition towards hoarding artefacts of nostalgic or sentimental significance.

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Below: An apple a day, Oil paint and permanent marker on laminated plywood

IB VISUAL ARTS — PRIMED 2023

Left: Latchkey, oil pastel and graphite pencil on watercolour paper

Above: Keepsieck, oil pastel and graphite pencil on watercolour paper Right: Charmed, oil paint on laminated plywood

Right: De-pendant, oil paint on laminated plywood

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IB VISUAL ARTS — PRIMED 2023 Sung, Conte pastel on recycled cardboard

I love you to the moon and back, white raku clay glaze with a cobalt carbonate drawing

Maraud, Conte pastel on brown kraft paper

MIKAYLA DOWD (EM) As a proud Indigenous Australian, I have a fundamental connection to storytelling as a source of education within my culture; I learn from the Dreamtime and longstanding generational origin tales. Hence, this exhibition fosters the significance I hold for the education of culture through tales of caution and Dreaming. My exhibition explored the fundaments within childhood folklore tales, sourced from a various cultures, specifically First Nation Australian, Japanese, Chinese, and Polish, and exposes the origin buried within such anecdotes. I wanted to capture the essence of each tale and depict such nuances through a visual portrayal, emphasising the sinister connections that flow throughout common bedtime stories; stories that have been glossed over and filtered for a younger audience. I aimed to manipulate the formidable concepts from each narrative’s inception and use the stories as inspiration to create artworks detailing folklore through a darker lens. Throughout the development of my artworks, I researched various artists to capture elements of inspiration. Shaun Tan’s haunting illustrations from his 2006 Children’s graphic storybook, The Arrival, heavily influenced my techniques of colour blocking and creating depth with a monochromatic pallet. I was also influenced by a Polish artist Adam Killian and his illustrations from a book O smoku wawelskim (Story of the Wawel Castle’s Dragon), which helped me to create stylised depictions of the main characters.

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It was mistake (Morality or Immortality series), Conte pastel on recycled cardboard

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IB VISUAL ARTS — PRIMED 2023 New York City – USA, graphite pencil on paper

Budapest – Hungary, graphite pencil on paper

VERITY DUFF (HE) Concrete Change explores architecture evolution throughout time, aiming to emphasise specific cities/countries, enabling an exploration of architectural development and their obsolescence within regions. Each artwork is connected to a particular city, with three exceptions: works dedicated to the evolution of doors and windows from ancient civilizations to post-modern styles. These artworks provide an in-depth analysis of style evolution across cultures and the stories within these overlooked features. The theme stems from my fascination with the ever-changing world of architecture and how buildings embody the spirit of a time, reflecting cultural, social and technological shifts.

The works of artists Kevin Scully and Karl Bronk have been instrumental in shaping my artistic vision. Inspired by their ability to create contrast, I have embraced grey-lead pencils as a suitable medium for my art, due to its ability to create high dimension on the buildings.

This helped create a coherence between the pieces, as removing colour encourages viewers to engage with the buildings intricate details and discern the subtle intricacies that may otherwise go unnoticed. When viewing the works, I invite viewers to initially look from a distance then draw closer and examine the hidden features embedded within the buildings, not just their functionality. It is within these details that the viewer will uncover the nuanced trends associated with each city, further enriching their understanding of the architectural evolution depicted.

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7. Doors: a Global Conversation, graphite pencil on paper

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IB VISUAL ARTS — PRIMED 2023 Mosaic of Absence, laser cut acrylic (perspex) sheet

SIMON MEIER (CU) My exhibition explores the interplay between solid vs. void, a concept found in architecture and sculpture. Solids dominate by physically obscuring details, while voids erase them, creating featureless expanses. This theme runs throughout, shaping a modernist and minimalist aesthetic. I use materials like acrylic, polished aluminum wire, and Laminated Veneer Lumber (LVL) to achieve smooth, balanced surfaces. My initial work, Frequential Notion, led me to acrylic as my primary medium. I incorporated modern techniques like 3D printing and laser cutting in pieces like Ethereal Interplay and Echoes of Hamburg, enhancing my post-modernist style. Black and white color choices symbolise the solid-void interplay. Inspired by Richard Serra’s monumental style, I added topographical variance and geometric facets to create spatial depth and contrast. My compositions maintain hierarchy, separating elements and spaces. Creating these artworks was complex, involving technical expertise and tools like AutoCAD Fusion 360. Precision and patience were essential, with challenges along the way. Plinths guide viewers through the exhibition, emphasising the importance of technical skills in appreciating these minimalist creations.

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Echoes of Hamburg, FDM 3D printed (PLA) Filament

Bridging Shadows, plywood and polished aluminum wire

Parametricism (close up), spray painted laminated veneer lumber (LVL)

Frequential Notion (close up), laser cut acrylic (perspex) sheet

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IB VISUAL ARTS — PRIMED 2023

Top: The Watchers, Oil pastel on paper Bottom: Steel Horizons, Oil pastels on paper

SAM PEARCE (A) This exhibition delves into Melbourne’s diverse architectural landscape, emphasising the contrast between city and suburban styles. My initial concept centred on capturing Melbourne’s unique cultural essence, but I shifted focus to the distinct architectural differences. Growing up in Melbourne, I observed the stark height contrast between the city’s high-rises and residential suburbs, influencing the exhibition’s theme. The bustling cityscape showcases neat infrastructure, modern buildings interwoven with historical ones, and efficient public transport. In contrast, suburbs like Fitzroy feature congested streets, visible electrical poles, and clustered small businesses. The exhibition also explores contrasting elements like Melbourne’s competitive skyline and the push for taller skyscrapers. Having spent most of my life in the suburbs, the curator brings a unique perspective to suburban architecture. My interpretation of the cityscape is coloured by childhood glimpses of towering skyscrapers on the horizon. I experimented with various media, starting with oil pastels inspired by Arthur Ted Powell’s bold strokes. I also gradually adapted the medium to suit my own style, resulting in distinct approaches in my first two artworks. I also ventured into Adobe Illustrator, drawing inspiration from Howard Arkley. This powerful design software presented challenges, but I acquired new skills in colour and texture manipulation. Additional influences include artists like Gordon MattaClarke, who explores destructivism, and Wolfgang Georg Sievers, whose compositions influenced the angles of the curator’s photographs. Michael Wolf’s focus on city density inspired one of my illustrations. The selection of artworks for the exhibition was based on my interconnectedness, whether through contrasting styles, similar themes or shared meanings.

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Clockwise: Portrait of Simon, acrylic on canvas Portrait of Orlando, acrylic on canvas Portrait of Dougie, acrylic on canvas Portrait of Kevin, acrylic on canvas and gold leaf

CARL SUN (FB) At the heart of my exhibition lies the exploration of relationships: Mentors, Peers, and Heirs. Each portrait, rendered in the versatile medium of acrylic, unfolds a chapter of my life.

The art of portraiture becomes an ode to life’s pillars, echoing the roles these individuals play in my life’s journey. For the mentors portrayed, the intricate texture and depth of their eyes are a heartfelt tribute to their guidance. They honour the invaluable lessons they’ve imparted, reminding me of their infinite patience and vast wealth of knowledge that has shaped my life’s journey. Contrastingly, the portraits of my peers are dialogues, capturing shared memories, mutual struggles, moments of joy and introspective periods. It is a testament to camaraderie, reflecting our shared journeys, ambitions and dreams. In these portraits, you witness co-travellers on life’s winding road, individuals who remind me that no matter the turns, I’m never journeying alone. Heirs is used metaphorically to denote the future generation. These portraits, with a clear aura of hope and aspiration, capture both their present essence and future potential. As I inspire them with my actions, stories and insights, their growth and aspirations, in turn, fuel my own motivation. My work is a rich mix of inspirations ranging from the classical mastery of Caravaggio’s chiaroscuro to the contemporary perspectives of Barkley L Hendricks and Lucian Freud. Whether it’s the unmistakable humility, the radiant positivity, or the inherent nobility in Kevin’s gold leafbacked portrait, I aim to connect the viewer not just with my perception, but with the vibrant souls that have enriched my life. Through each portrait, I’m not just defining my subjects but also, in a sublime manner, defining myself – my growth, my aspirations, and the depth of my connections. The function is to honour, to inspire and to introspect. And the profound meaning behind them is that life, in all its complexity, is a mosaic of faces, each bringing a unique hue to my story.

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IB VISUAL ARTS — PRIMED 2023 Beneath the Waves, charcoal on paper

ZHI TAO XU (P) In Beyond the Surface, an exhibition unfolding in three vibrant sections, viewers are encouraged to embark on a journey of illusion and duality, a central theme woven through each piece. This immersive visual narrative, inspired by my deep appreciation for varied perspectives and studies, bridges the worlds of animal symbolism, celestial wonder, and the testament of time as reflected in historical architecture. The first section illuminates the rich symbolisms and unique traits found in the animal kingdom, a tribute to my affection for creatures great and small. A voyage into the cosmos marks the second part, an exploration ignited by my physics studies, showcasing the breathtaking expanses of Earth and celestial bodies. Lastly, the passage of time takes the spotlight in the final section, with artworks inspired by historic architectural forms, offering viewers a vivid commentary on our evolving world. Each piece in the exhibition is a tapestry of influences from renowned artists Rob Gonsalves and Dennis Creffield. The magical realism of Gonsalves finds a home in my works, merging reality and fantasy in a seamless dance. Meanwhile, Creffield’s expressive and somewhat chaotic charcoal renderings of architectural marvels heavily influence the representation of time in built forms, capturing the dichotomy of urban landscapes across eras. This curated selection, though diverse in medium and subject, harmoniously converges under the theme of illusion and duality. Viewers are encouraged to look beyond the surface and engage with the layered meanings that lie beneath, embracing a thoughtprovoking experience that spans the magnificence of space, the intricacy of animal realms, and the grandeur of human architectural feats. Beyond the Surface stands as a rich and multi-faceted exploration, promising an enriching journey that challenges perceptions and celebrates the multilayered layers of reality.

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IB VISUAL ARTS — PRIMED 2023

Solaris Crossroads, acrylic on canvas

Folding History, charcoal on paper

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

VICTO RIAN CERT I F I CAT E OF E DUCAT I ON

ART MAKING AND EXHIBITING

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ZOE ARMYTAGE (A) Balance of colour, sound and emotion prompts deep contemplation of how colour and music impact our perception of the world. This artwork elevates everyday routines into emotionally charged experiences by introducing a spectrum of colours and synchronised music. Drawing from the artist’s own circus performances, it underscores the practical use of these elements beyond art. The painstaking process involved photographing and handdrawing each frame of a video, meticulously aligning and assembling them digitally. The result is a mesmerising composite video showcasing the intricacies of the performed trick.

This artwork serves as a reminder of the transformative power of colour and music in our daily lives. Their presence can turn the ordinary into the extraordinary, inviting us to reflect on the profound influence they have on our emotions and experiences. It’s a testament to how the same acts, when viewed through the lens of colour and sound, can take on entirely new dimensions, leaving a lasting impression on our perception of the world.

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BELLA BECK (HE) Exploring humanity’s relationship with nature in a historical context, this piece challenges the connection and ownership between the land. Inspired by Joan Ross, this piece captures Imperialism at its prime with the words “I Hereby Claim This Land for Great Britain”.

Accompanied by Ross’s distinctive fluorescent yellow, alongside her symbolic fencing, it signifies the control and impact Western colonies held over the First Australians as well as the land we inhabit. Furthermore, the work represents Western agriculture through a string of endless fencing as a sign of civilisation and systematic ways of living.

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EDEN BLAKE (CL) I have indulged in a deepened discovery of the unethically misconstrued outlook on the display of human remains, holding prevalence to the heartless exposure of deceased ancient Egyptians. Through the use of white earthenware clay, I have embodied an ardent sense of empathy towards the vicious acts of blasphemy, which have rendered ancient Egyptians’ entire existence pointless.

Bringing a melancholic rumination of loss to a hopeful conclusion, Asar is a representation of the stolen beauty of life and being, which remains unseen by the ancient Egyptian’s source of moral spirituality and stolen voice through death. The raw confrontation of vulnerability and suffering is manipulated through the verisimilitude of the hidden truth behind the blaspheme display of mummified Egyptian human remains which have been normalised. The idea of the work is to evoke empathy through discomfort to those unaware of the unethical act of psychosis that is allowed through facade in gain of exotic material wealth, uncovering the consumption of woe mirrored through death and mistreatment.

The unadorned figure of a withered perception, stripped of pure voice, has become all but a parasitical element of a paralysing box of exposure. The primitive display of the piece has been designed in reflection of a museum exhibit, to encompass the clear glass as a motif of concealment and use as if an object who has not once breathed, walked, and loved on our earth.

The ceramic falcon as a once powerful ancient deity named the Horus, has been coated in a gold lustre to assert its imperial immortality, in a physical state of weakness. The sickly appearance of defeat creates an antithetical bond of symbolism, representing the depleted purpose of the deity in the dimming of its celestial light; as the inner healing power by the eye of the Horus cannot save souls whom have been stolen in depart of the after world.

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SKYE CALVERT-JONES (EM) This triptych artwork presents a captivating fusion of detail, balance and thematic unity.

The striking arrangement of three portrait-style bird compositions against intricate black and white patterns creates a visual journey. Drawing from Joshua Yeldham and Del Kathryn Barton, this artwork is an exploration of the captivating beauty and intricate details found in the natural world. It seeks to illuminate the elusive patterns, vibrant hues and conceptual textures that make nature so intangible and eccentric. Pastels have been employed as the preferred medium, harnessing their versatility to employ a wide array of expressive techniques, from intricate layering to seamless blending, imbuing the artwork with depth and tone. A fine-point pen has been employed to intensify intricate patterns and create metaphysical elements. This triptych establishes a thematic connection among its pieces, marked by a deliberate interplay of lines and colours. The birds emerge as striking focal points against the dynamic black and white patterned background, alongside each of the work’s titles, symbolising the distinctive personalities of their species. Upon closer examination, hidden details can be uncovered, including elusive landscapes and the distinctive nest of a bower bird. Viewers are encouraged to explore the artwork from various perspectives, visualising the abstraction of the work’s distinctive style from different angles and viewpoints.

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LULU DI SCIASCIO (A) Inspired by my recent holiday, Suspended Memories combines aspects from the South Australian beaches and the Pink Lake, fluidly dissecting distinctive elements of the landscapes in a holistic and cohesive story. Furthermore, the basis of inspiration was formed by sensory memory and interpreting the landscape via feeling and emotion, additionally provoking the pre-occupation of imagination. The abstract and loose composition, inspired by researched artist Julia Roche, prompts a sense of fictionality, as seen through the suspension of the Pink Lake and its unnatural colour palette. Symbolising the juxtaposing elements of the various environments, the multiple materials reflect colour, detail, texture and atmosphere present in the existing landscapes. Reflected through the sizing of the Lake and surrounding plantation, Suspended Memories expresses both zoomed in and zoomed out appearances of matter, reiterating explored proliferations in my unit 3 folio. Perspective is a deeper focal, as upon observance the audience can interpret Suspended Memories from both a bird’s eye and flattened viewpoint, adhering to the abstract connotations. This is also illuminated with the use of shellac drips, creating a honey glazed effect, influencing the flow and movement of the piece by removing the pre-existing circular formation.

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OLIVIA GATENBY (CL) This series of work aims to record the inevitable course of time as it progresses and our lives change, but naturalistic landscapes surrounding us will remain a constant. With the inclusion of a figure slowly growing up parallel to the tree planted in front of him, it embodies the subject matter of time combined with post-impressionist inspired theme of “Familiar Landscapes” with reference to scenery found in Longford, Tasmania. Using acrylic paint and loose, vivid colours, the created environment within these paintings remains almost identical, with only fractional changes implicated by time passing and the varying age of the subject matter. While everything else in our day-to-day, even year-to-year, lives can be everchanging, the strong connection individuals find in landscapes or certain environments have the power to stay consistent and unchanged against time.

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INDIGO HUNTER (EM) Perfectly Imperfect is an exploration of the female form to combat the male gaze, where her inner form is exposed to show the internal components and exploit the concept of being more than one’s sexual value. This large-scale drawing explores the detailed line work that carefully constructs the quadrant of bones and defines the artist’s individual style.

This artwork has explored the techniques of Wabi-Sabi, the acceptance of imperfection, and Kintsugi, the art technique of highlighting and enhancing imperfections, to pay homage to Petrina Hick’s preoccupation of showing seemingly perfect work with nuanced imperfections to develop a strong narrative. The female body is facing away from the audience to explore vulnerability and show the need to hide the imperfections away, but further allows individuals to resonate with its meaning, to find comfort in her facelessness and feel as if they can transport themselves into her body and all she represents.

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LUCIA JENKINS (GA) Throughout my studio process, I explored the intricacies of female perception and the materials, techniques and visual language that may be used to encompass and represent these illustrative details. I aimed to expose the different stereotypes of the female gender contributed to by the universal tropes present in the media and societal structures that have infiltrated the female gender throughout history. The title Photographing the female experience creates a unique comment on how female perception and stereotype may be captured through the medium of photography. The recurring use of the mirror as a motif throughout each work in the narrative encapsulates the ideal that fundamentally, femininity revolves around the preoccupation with how one’s outward appearance and inner character are subjected to scrutiny and evaluation.

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YATHIMA JENNINGS (EM) The central theme of this textile art piece is “memories captured through fabric”. Through my work, I used a combination of stitches, sun prints and fabrics, tailoring each garment to represent the age and the memories that I chose to reify. Learning how to preserve cherished memories through fabric manipulation, I explored the different materials, techniques and principles to evoke nostalgia within my audience. The garments are arranged in order of age, from left to right, allowing viewers to witness the evolution of my years, up until the present day. Each piece carries its own narrative, illustrating my interests, the people I love, or the key memories that I cherish. I used a wide variety of vivid colours to illicit the childish fixation on bright colours, with specific hues conveying the emotions of each age. Harvesting the power of the sun to illustrate slivers of memories into my fabrics through sun prints, the prints evoke visual snippets of moments and the fleeting nature of memories, just like the shadows cast by the sun. With the use of delicate and intricate embroidery threads, the stitching not only adds a tactile dimension to the artwork but also symbolises the ability to express a narrative through something as simple as thread.

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SOPHIE KESTEL (GA) Nonsense is fuelled by the diminishment of ideas of normality. This artwork is centred on depicting concepts that correlate to imaginative thoughts and stray away from customary formations, and therefore the theme Nonsense. The crazy idea about life above us in the sky comes to light through the personification of natural elements as they conduct the ordinary activity of drinking tea. The tea party is fuelled and inspired by the hectic nature of the Mad Hatter’s tea party. Whilst the words encompassed by the tea-drops spell out “tea will take you there”, fabricating the silly notion that this liquid has the power to awake life within the sky and essentially take us ourselves to this place. The implementation of the angle pays tribute to ideas of the afterlife and the unknown of it, drawing references to storytelling like configurations. Abounded by symbols both clear and hidden, the piece generates a narrative that aligns with ideations stemming from nonsense. Whilst through the abundance of shapes and patterns implemented into the design, a playful, quirky and decorative nature is uplifted.

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AVA MCEVOY (A) When resolving my subject matter, I settled on women participating and working in typically masculine careers while still all dolled up to show that it doesn’t matter what you look like, it’s your work ethic and how good you are at your job that matters. It also plays on the fact that when most people see a woman working in a hospital, they would assume she is a nurse, not a doctor. I used a range of materials and techniques mixed with art elements and principles to create the mundane look and feel of the hospital room mixed with the brightly dressed subjects in the work, creating a juxtaposition with the foreground and background.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

MILLA NAYLOR (CL) This visual representation of the world’s transition through the seasons incorporates a diverse range of textures to create subtle and unique symbolic links to each individual month and season. The subject matter embodies three central themes, forming the three tiles for each respective season; these include landscapes, leaves and symbols.

The leaves display a fixed and static object transformation across the seasons through changes in colours and shapes, whilst the landscapes and symbols vary across the artwork, however, convey a subtle connection to the central thesis through use of symbolic representations. A major technique used across the artwork is the use of impressions, which evoke subtle details and generate unique textures. To enhance these aspects of the work, copper oxide, coper carbonate and iron red oxide have been used to seep into the lines and finite details to draw in attention and evoke a vibrant contrast with the surrounding pastel colour palettes. The 12-piece artwork is arranged in a circular shape to evoke a dynamic and natural flow, with each tile having a central flow which is enhanced through bold use of glazes, to evoke a contrast and thus generate a connective thread which binds all the tiles together. By altering the conventional seasonal perspective of a linear timeline approach to that of a bird’s eye view, it reflects the traditional Indigenous approach of depicting movement and change. Whilst challenging the traditional way of viewing the work by presenting in a bird’s eye perspective to encourage the audience to transition around the plinth and observe all aspects of the work from different viewing points.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

RUBY PLUMMER (A) In this series, I explore the concept of interchanging and shifting perspectives by taking everyday objects constrained with negative emotions and incorporating miniature figurines to interact with the objects. This not only reshapes my personal feelings attached to these objects, but additionally invites viewers to reconsider and transform their own perspectives.

By crafting new narratives through the interplay between these objects and the miniature figurines, it pushes a sense of playfulness that ultimately leads to a captivating viewing experience, transforming the way we perceive these familiar objects.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

GEORGINA RADFORD (HE) With the theme of the paradox between beauty and pain, this artwork aims to elicit hope in the understanding that one does not need to succumb to their internal pain, but rather decide to grow from it, by turning it into something beautiful. This artwork challenges the societal perspective that building up a wall makes a person braver and stronger. Instead, this art demonstrates how being vulnerable to pain is a true indicator of a person’s bravery and strength. The gut is specifically chosen for the wound as it is often considered the “second brain”, where sensations such as anxiety, butterflies, excitement, and dread are universally felt.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

ANNIE VICKERS-WILLIS (CL) The exhibition series Biophilia seeks to illuminate the profound and often overlooked connections between the human body and the natural world. Through a carefully curated presentation of three individual diptychs, this series invites viewers to embark on a visual journey that celebrates the shared patterns, forms and rhythms between humanity and nature. I took inspiration by the artist Alicja Brodowicz’s visual exercises series and was able to build off her themes which I thoroughly enjoyed. By interweaving art, science, and philosophy, Biophilia aims to deepen our understanding of our place within the ecosystem and foster a sense of awe and responsibility towards the environment.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

BROOKE WARNER (A) This photographic series captures the essence of personality and emotions through the symbolic language of flowers. The subject, Miku, is adorned with flower crowns, each colour representing a different stage of life and emotion.

The first image, titled Innocence in Bloom, features Miku with a crown of white flowers, traditionally associated with youth and innocence. The subject’s unamused expression aligns with the purity and simplicity of youth, often unimpressed by the complexities of life.

The second image, Wisdom in Petals, presents Miku in a more composed position, this time adorned with a purple flower crown. Purple flowers are often associated with wisdom and success, symbolising the growth and maturity that comes with age. The subject’s happy and composed demeanour reflects a sense of understanding and acceptance.

A unique element in this series is the interaction between the two images. In the first image, Miku appears to be looking at her counterpart, creating a narrative of self-reflection and growth. It’s as if her younger self is looking ahead at her older self, contemplating the journey from her youth to now. The series encapsulates the journey of life, using symbolism and expressive portraiture to convey a narrative of growth and self-reflection. It invites the audience to reflect on their own journeys and the emotions tied to different stages of life.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

TOM WILSON (P) This acrylic spray painting expresses how memories shape us as they become distorted and vague through time. The light appliance of paint avoids an overpowering demeanour, only colouring exactly where intended as guided by the machined stencils. This scene visually and metaphorically exhibits the omnipotence of one’s mental falter, displaying a confronting sense of mortality. Depicting an ambitious structure located in an indistinct void, this conveys the fabricated nature of the mind as a formless structure, whereas this displays a blank canvas to display a lost memory.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

CHARLEE WOODMAN (EM) This is my view of the Cloisters and The Chapel at Geelong Grammar School. I was influenced by Impressionism work, Camille Pissarro painting Garden and Henhouse at Octave Mirbeau’s, Les Damps. I have tried to catch the details of the building, the light and shadow though broken colour using a pointillist approach. This approach provides different perspectives and adjustments to the way we perceive the scene as we lessen our distance to the work. I encourage people to view from afar and then readjust their perspective by moving in closer.

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VCE ART MAKING AND EXHIBITING — PRIMED 2023

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VCE MEDIA — PRIMED 2023

VICTO RIAN CERT I F I CAT E OF E DUCAT I ON

MEDIA

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

Scan QR Code to watch.

Get Ready With Me Short video

Spend the Afternoon With Me Short video

AMELIA CHARLESON (HE) I have created an Instagram page for Australian owned skincare company, ALIVIO WELLNESS. My aim was for the platform to serve as an immersive and inspiring space that highlights the transformative potential of sustainable skincare.

The content strategy for my Instagram page is multifaceted. It includes engaging videos, captivating product photographs, and interactive elements. The product photographs are carefully curated, featuring minimalist backgrounds with dew drops and dappled sunlight or showcasing products being applied to perfect, clear skin. These images are not only visually appealing but also align with the brand’s focus on sustainability.

In addition to product-focused content, the page features a series of short videos documenting the sustainable lifestyle choices of two young women. These choices include using sustainable cups, walking instead of driving, reducing single-use plastics, shopping locally, buying clothes second hand and incorporating ALIVIO WELLNESS products into their skincare routines. This storytelling approach inspires the audience to make conscious choices in their daily lives and hopefully persuades them to include ALIVIO WELLNESS in their skincare routines. Aesthetic considerations are paramount, with a visually cohesive feed featuring a colour palette predominantly composed of green and beige tones.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

Please note: language w arning on this video

Scan QR Code to watch.

JOSHUA COLLEY (A)

I created a short fantasy/thriller film titled The Witches of Bagliegh. The film depicts a group of three witches that prey on three greedy villagers for money to spend at a sabbath.

The film was aimed to capture the essence and style of silent films from the early 1900s, specifically a film titled Haxan (1922). My film delves into the style by creating an otherworldly feeling by setting the film with Scots Gaelic title cards. I also tint my film with general colours that were used by films of the time. My film attempts to bring some dark comedic elements, while returning mainly to the thriller/fantasy genre.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023 Scan QR Code to watch.

ZARA COOPER (GA) Immersed in You is a captivating short film that delves deep into self-perception and beauty standards. Using a variety of camera techniques, it skilfully draws viewers into its world. The film centres on the protagonist, offering insight into the complexities of beauty standards. The seaside setting mirrors her emotional journey, with mise-en-scène choices highlighting tension. Editing choices enhance the experience through pacing, visuals and audio techniques, fostering a connection to nature. The narrative focuses on the protagonist’s journey and first-person narration, symbolising non-judgmental beauty through the ocean. Immersed in You is a testament to introspection and the beauty of the natural world, inviting viewers to reflect on their perceptions of beauty.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

Scan QR Code to read.

REMY DISNEY (HE) Saddle and Spur is a 32-page magazine that delves into the rich tapestry of Australian and American country heritage while immersing readers in the world of the western genre.

This magazine serves as a captivating window into the heart and soul of the country and western lifestyle, celebrating its unique style, themes and the profound cultural influences it encompasses. One of the magazine’s primary objectives is to shine a spotlight on the ever-evolving fashion element that has sprung forth from the western genre. Saddle and Spur pays homage to the iconic cowboy and cowgirl attire that has not only stood the test of time but has also permeated mainstream fashion and culture. With a commitment to authenticity and a passion for storytelling, Saddle and Spur offers a captivating blend of history, artistry and contemporary perspectives. Through its engaging articles and photography, it invites readers to explore the enduring allure of the western genre, fostering a deep appreciation for the cultural heritage it represents.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

NIAH DORWARD (CL) My zine, Surfer, explores the idealistic world of surfing in Australia during the 1970s, with background context of how surfing started in Australia and the best surfing locations for different levels of surfers. Surfer also features an interview with a surfer while also detailing how coastal landscapes have changed from the 1970s to now, in the modern era. I wanted the zine that I created to feel as though it was produced during the 1970s with a vintage, retro feeling throughout, which I have exhibited through photography and the layout of the zine.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023 Scan QR Code to watch.

ISABEL FURPHY (CL) My film, Quality Over Quantity, explores the way that second-hand clothing can be reused, helping to stop the rise of fast fashion. It shows that quality beats quantity, and that a well-made piece of clothing can live through generations, instead of unsustainably made clothing which doesn’t outlive trend cycles. The film goes through three different time periods where the same, well-made denim jacket journeys through three different people, highlighting the connection that people can develop with clothes and that a small sustainable closet is much better than a trend filled, overflowing closet.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023 Scan QR Code to watch.

ELLA HOLT (GA) My music video to the song Only a Lifetime by FINNEAS focuses on depicting the beauty of the natural world, highlighting the importance of family and friends, and the underlying themes of aging and growing up. Within my music video, I encourage the audience to embrace the present moment, and to not “waste the time they have”. On one hand, the young girl within my video is just starting to discover the world, and the person she wishes to grow into, whilst the older man has lived to experience the beauty of life and is finding joy in reflecting on his memories.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

Please note: language w arning in this audio

Scan QR Code to listen.

ARCHIE MACLACHLAN (A) My media product is a Radio Play, Tales of Valhalla, based around a story from Norse Mythology. I used orchestral music to show the changing of scenes along with foley and sound effects. I used a variety of effects, such as reverb and EQ, to transcend my piece into different realities. This helps with my personal style of radio play. Ableton was used to record my piece and present it in the cleanest form. The piece is about 16 minutes in length and is packed full of knowledge that’s easy to digest.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

Please note: language w arning on this video

Scan QR Code to watch.

JOSH REES (CU) I have made a short film, Ding, influenced by a theatre improvisation game where a bell resets the game each time a participant messes up. My film shows an actor getting increasingly frustrated as his audition keeps getting reset. It is a two-shot film edited into a Groundhog Day-type montage of this actor’s experience. There is an omniscient force controlling the time loop however that is not focused on as it was my intention to emphasise the actor’s experience and how he reacts.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

Scan QR Code to read.

BROOKE WARNER (A) Pawsitively Stylish is a 12-page zine that explores the world of dog fashion through the eyes of my two dogs, Miku and Beethoven. Inspired by the aesthetics of fashion magazines, this zine utilises vibrant colours and creative design layouts to showcase a wide range of different fashion styles. In addition to its visual appeal, Pawsitively Stylish provides valuable fashion tips for dog owners and includes interactive elements such as a dog-friendly recipe. I wanted my zine to encourage people to appreciate dogs’ unique personalities and encourage a sense of community and celebration for our furry friends and how we can express their personalities through fashion.

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VCE MEDIA — PRIMED 2023

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VCE MEDIA — PRIMED 2023

SASHA WOOD (EM) In my photographic series, The Perception and Portrayal of Women Throughout History, I aimed to capture the essence of women in a time marked by the profound social, cultural and artistic shifts of the Renaissance period. Each photograph is inspired by Renaissance paintings integrated with contemporary art, producing an unconventional vision. By juxtaposing these contrasting depictions, I’ve produced a photographic series that emphasises the misrepresentation of women’s roles and dated judgements of femininity.

Each portrait embodies the idealised beauty and hidden narratives of women during the Renaissance period, prompting the question of how polarised depictions have shaped our understanding of women’s roles in society throughout history.

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VCE MEDIA — PRIMED 2023

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

VICTO RIAN CERT I F I CAT E OF E DUCAT I ON

VISUAL COMMUNICATION DESIGN

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

WEBSITE DESIGN

THIS MONTH’S LINEUP

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

ZOE ALPHERTS (GA) Baby Elephant, a cosmetic company, asked for product packaging (surface design) and a promotional billboard for their new sensitive skincare range of products for newborns and young children. The company boasts that their cosmetics are made from organic ingredients and their packaging is fully biodegradable and recyclable.

Concept one showcases the surface design for two bottles (shampoo and conditioner), and the box that the products come in. Both concepts were designed to attract the target audience: young children and their parents. It was created to be engaging; attracting the eye of young children while being informative for the parents – showing them why Baby Elephant is beneficial for their children.

Concept two, a promotional billboard, includes an advertisement of the product showcasing the packaging. Photography was the primary method used to create the design. The baby looking straight down the camera breaks the fourth wall and allows the audience to make a connection with the brand.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

N U T R I GU M en

Nutri Gumis

Healthy Gum For Kids, at just $4.

Access at www.thesweetcompany.com OR 6A Chapel street, South Yarra, Melbourne OPEN 8am - 6pm everyday.

SKYE CALVERT-JONES (EM) My client, The Sweet Company, is a small Australian business selling confectionary sweets and refreshments to a young audience, particularly children aged 7-14. The client presented a brief, detailing their specific requirements for a fresh package design and a promotional poster to launch their new line of bubble gum. Both designs were expected to effectively engage the target audience through contemporary and playful aesthetics.

My first presentation focused on the package design, where I incorporated vibrant colours and whimsical imagery while also ensuring that only environmentally friendly materials were used, aligning with my client’s values. The key objective was to create a lively and striking design, perfectly resonating with the specified target audience outlined in the brief.

For my second presentation, following extensive research, exploration and refinement, I created a promotional poster that playfully addressed every need listed in the brief. The design seamlessly balances innovative watercolour illustration with typography. By utilising a consistent palette of colours, I established a connection between each design, thereby enhancing their cohesiveness. The vibrant colours and imaginative imagery in each work will successfully capture the audience and have allowed me to successfully satisfy the client’s needs.

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AUSTRALIA

INGREDIENTS: sugar gum base, starch, gluecose, citric acid, natural sugars CAUTION: Must NOT be consumed by children under the age of 5

Nutri Gumis

Chewing gum

STORE: In a sealed container in a cool, dry place Made by The Sweet Company

SHOP: 60 Chapel Street, South Yarra, 3141, Melbourne www.thesweetcompany.com.au

VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

Lovingly made in

BEST BEFORE DATE: 20.08.2026

200g

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

ZARA COOPER (GA) Little Life, an Australian company based in Sydney, specialises in producing vitamins for kids. Their focus lies in delivering products with a playful yet functional exterior, child-friendly attributes and top-notch quality. The client’s objective was to expand their product range from adult to children’s vitamins, necessitating a package design and a promotional poster.

The intended audience of the product comprised of middle to high-status 4 to 10-year-old boys and girls, and their parents.

For the package design, I explored diverse container forms while ensuring practicality, utilising vector works, Adobe Illustrator and sketches. To enhance functionality, I introduced a stacking and joining feature, setting it apart from existing market offerings.

In the poster creation, rough sketches and Adobe Illustrator were employed. The final design embodies the company’s playful energy and should resonate with the young audience, effectively conveying the new product.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

GEORGIA DANCKERT (CL) Outback Pantry is a small business that celebrates rural life and aims to galvanise regional community through sharing culinary recipes. The client needed a Christmas cookbook cover design and two recipe page layouts. Both designs were to capture the summer season in Australia through displaying classic Aussie foods (Presentation 1). The layouts were primarily aimed towards the target audience of women (aged between 28-36) and their children (aged between 8-14). The client’s brief listed a number of constraints, e.g. to include illustrative elements, typefaces, colours and aesthetics throughout the designs to encapsulate the nostalgia of a classic Aussie summer.

Outback Pantry also requested a website design concept (Presentation 2) that reflects the established visual language in the cookbook cover design and the recipe page layouts. The client requested that the website design must have a clear user interface for ease of navigation for the same target audience as Presentation 1. The website design was to promote Outback Pantry and advertise its goods and services for sale to rural communities across regional Australia.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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Become a member Recieve exclusive rewards, offers and the latest updates straight into your inbox!

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

EMILY DAVID (HE) Top-End Tourism, a company located in the Northern Territory (NT), requested a new design/template for their website, as well as a tourism information centre that would be located within Darwin’s CBD. The aim of the new designs was to portray and enhance the beautiful features and landscapes that the NT has to offer.

Both communications are targeting a wide range of people, from ages 18-55 who are interested in exploring, discovering and enjoying the beauty of the Territory. The target audience also branches out to families, both with younger and older children, solo backpackers, couples, friends looking to go on a group trip, and those wanting to explore the NT via caravan or car.

The logo was designed to have a minimalistic form but also clearly portray the business. It is an outline of the Territory with the name of the company, Top-End Tourism, placed on one side of the outline.

The website was set out to have the home page which would show photographs of the NT, and three subpages, Location, Accommodation, and Activities, which are all located on the top right of the home page. The website was made to be easy to navigate and find all the necessary information.

Finally, the information centre was designed to suit the harsher environment of the Northern Territory and to be inviting for the target audience. The design is simplistic and has an open structure, having one side of the building made primarily out of windows. This was chosen because the building and overall space inside of the centre is limited, so incorporating lots of windows opened up the space a lot. I used SketchUp to create a digital design before constructing a model.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

S H E L T E R

G E E L O N G

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JEMIMA FITZGERALD (FR) For my portfolio, I have designed a logo and a website layout for a dog shelter in the Geelong region. The shelter is named Loving Paws and it is a non-kill shelter that allows dogs and other animals to stay until they are adopted. My client, Ashly Cooper, wanted my design to be inclusive of everybody in the Geelong region, and I designed my logo to appeal to everyone from children right through to the elderly. With my design, I explored a variety of forms and designs trying to keep the minimalistic factor using Adobe Illustrator.

The website used the font from the logo while incorporating other colours that complement the shelter theme. I believe the final logo and website design has the ideals of the shelter and will attract the target audience.

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G E E L O N G

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f NEW / CONTACT / SHOP FIND A DOG

With the donation you give helps our friend bear get the medical help he need that will help find him a forever home

VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

DONAT S H E L T E R G E E L O N G

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FIND A CAT

FIND OTHER PET

ADOPT

Species Breed

Gender Age

FIND A DOG

$13.2 Million

823,651

Total pets Adopted

FIND A CAT

DONAT

DONATE S H E L T E R

RESORSE

FOSTER

S H E L T E R

G E E L O N G

Loving P

VET CLINIC

FIND OTHER PET

Total number in food donation

f NEW / CONTACT / SHOP FIND A DOG

FIND A CAT

G E E L O N G

Loving P

ws

ADOPT

ABOUT

VET CLINIC

RESORSE

FOSTER

f

ws

NEW / CONTACT / SHOP

Lucy AG

Homer A

ADOPT

SHOP

FIND OTHER PET

CLOTH

Species

JUMPERS

Breed

S H E L T E R

G E E L O N G

Loving P

ws

Gender Age

Lucy AGE: 4 mouth

Maz AGE: 12 mouth

Maddie AGE: 4yr

Banjo AGE: 1yr

TSHIRT

FIND A DOG

FIND A CAT

FIND OTHER PET

HAT Homer AGE: 2yr

Teddy AGE: 2 mouth

TEA AGE: 1yr

Bear AGE: 6yr

DONAT

DONATE S H E L T E R

G E E L O N G

Loving P

VET CLINIC

FOSTER

RESORSE

f

ws

NEW / CONTACT / SHOP

ADOPT

ABOUT

VET CLINIC

RESORSE

FOSTER

SHOP CLOTHING

TOYS

ITEMS

JUMPERS S H E L T E R

G E E L O N G

Loving P

ws

VEIW PAGE

25$

GE: 12 mouth

Maddie AGE: 4yr

Add

Banjo AGE: 1yr

TSHIRT

VEIW PAGE

25$

Add

HAT GE: 2 mouth

TEA AGE: 1yr

Bear AGE: 6yr

101

VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

Foletta Dynamics Aventyr

Redefine Performance Introducing the Foletta Dynamics Aventyre, the performance electric motorcycle that redefines luxury.

The Aventyre is the culmination of years of engineering expertise and design innovation. It is the perfect blend of power, performance, and style.

Here are just a few of the things that make the Foletta Dynamics Aventyre the ultimate luxury electric motorcycle: Powerful motor: The Aventyre's motor delivers an earth-shattering 200 horsepower, giving you the power to take on any challenge.

Long range: The Aventyre's battery provides a range of up to 300 miles, so you can ride all day long without having to worry about running out of power.

Sleek design: The Aventyre's sleek design is both stylish and aerodynamic, making it a pleasure to ride.

If you're looking for a performance electric motorcycle that is also luxurious and stylish, the Foletta Dynamics Aventyre is the perfect bike for you. Order yours today.

21308123W

GUSTAV FOLETTA (FR) Foletta Dynamics is a small Australian engineering company which specialises in vehicular designs. Their philosophy is to provide high-end, good-looking vehicle and transport solutions such as shock absorbers, car wings and race car chassis. Foletta Dynamics creates products with a priority of form and function over cost and tries to produce the best products possible for their customers. To be at the forefront of design, Foletta Dynamics have decided to invest in electric vehicles to support a more ecological future. To make sure their products are unique, the client requested a design concept for an electric motorcycle and brand design for their company. I have successfully been able to create an electric motorcycle which fits the brief provided and is able to go into production.

The motorbike takes inspiration from modern sport and super bike designs and has been designed to be able to compete in all sorts of race events. I have presented this design as a digital render which I have produced using CAD software. Along with designing the motorbike, a logo and brand guidelines for Foletta Dynamics have been created.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023 Introducing the Foletta Dynamics Aventyre, the performance electric motorcycle that redefines luxury.

The Aventyre is the culmination of years of engineering expertise and design innovation. It is the perfect blend of power, performance, and style.

21308123W

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P

F R

Y

VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

UREL

E

H S

CLAIRE HAMILTON (HE) My fictional Client, Purely Fresh, is a Melbourne-based business that delivers fresh produce and groceries to customer’s doors. The client provided a brief requesting a logo, brochure and box design to serve as clear communication to what they are selling. The target audience specified by the client included Metropolitan Melbourne families and students who fall in the medium socioeconomic bracket, looking for easy, healthy and affordable produce to save time with weekly grocery shops. The design of the logo was focused on simplicity yet vibrancy through the use of colours for the audience to clearly identify the company. This was further elaborated on through the surface design of the box, which comprised of a vibrant and fun design to communicate the client’s business.

Additionally, a brochure was also included to provide clear and sufficient information for the customers of Purely Fresh. The brochure was designed to have a neat and clean look whilst also holding all relevant details that the client wanted to be included. By completing all the relevant designs, I fulfilled the client’s brief whilst visually creating a fun and vivid style that reflects their need to communicate the business’ “freshness”.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

FIVE HEALTHY TIPS

ABOUT US OUR H CUSTO

1. Prioritize a Balanced Diet: Aim to include a variety of food groups in your meals, such as fruits, vegetables, whole grains, lean proteins, and healthy fats.

2. Practice Portion Control: Be mindful of portion sizes to avoid overeating.

3. Hydrate with Water: Stay adequately hydrated by drinking plenty of water throughout the day. Water is essential for digestion, regulating body temperature, and maintaining

CONTACT US

overall bodily functions.

We are passionate about producing and delivering the freshest

E PUR LY

0412356 7890

4. Limit Processed Foods and Added Sugars: Reduce your intake of processed and sugary foods, such as sugary

@purely_fresh

snacks, sodas, and fast food.

purelyfresh.com.au

5. Practice Mindful Eating: Pay attention to your body's hunger and fullness cues, and avoid eating when you're not

F R E S H

truly hungry.

and highest quality produce straight to your door. We pride ourselves on working closely with local farmers and growers to ensure that every item we offer is sourced sustainably and responsibly. From vibrant seasonal fruits and crisp vegetables to aromatic herbs and leafy greens, our diverse range of products caters to all your culinary needs. Our commitment to freshness extends to our efficient delivery service, which ensures that you receive your order promptly and in optimal condition. Whether you are a health-conscious individual, a culinary enthusiast, or a family seeking nutritious options, we are dedicated to providing you with the freshest produce, supporting local communities, and promoting a healthier, more sustainable way of

FRESH FOOD FOR A HEALTHIER LIFESTYLE ABOUT US OUR HAPPY CUSTOMERS US

E PUR LY

We are passionate about producing and delivering the freshest and highest quality produce straight to your door. We pride ourselves on working closely with local farmers and growers to ensure that every item we offer is sourced sustainably and responsibly. From vibrant seasonal fruits and crisp vegetables to aromatic herbs and leafy greens, our diverse range of products caters to all your culinary needs. Our commitment to freshness extends to our efficient delivery service, which ensures that you

OUR SERVICES Purely Fresh is dedicated to providing

convenient, healthy and nutritious meals right to your doorstep.

We offer a wide range of carefully curated menu options. We focus providing fresh, organic, and locally sourced ingredients.

Whether you're following a specific dietary plan or simply seeking to maintain a healthier lifestyle, our expert chefs prepare delicious dishes that cater to your needs. From vegan

“Absolutely love the easy of

and gluten-free to low-carb and protein-packed meals, we ensure that every order is tailored to your preferences. With our user-friendly online platform, ordering is a breeze, and our prompt and reliable delivery service guarantees that you receive your meals on time, every time. Experience the ease and benefits of our health food delivery service, and embrace a healthier way of living without compromising on taste, calories or convenience.

having fresh groceries delivered to the door!

Fantastic quality of produce making kids love eating healthily!” - Emily

receive your order promptly and in optimal condition. Whether you are a health-conscious individual, a culinary enthusiast, or a

F R E S H

FRESH FOOD FOR A HEALTHIER LIFESTYLE

family seeking nutritious options, we are dedicated to providing you with the freshest produce, supporting local communities, and promoting a healthier, more sustainable way of

“Such an easy convenience and takes grocery shopping off our busy schedule. And for such an affordable price!” Will & Sonya

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“Absolutely love the having fresh gro delivered to the Fantastic quality of making kids love healthily!” - E

VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

SOPHIE KESTLE (GA) Wander Away WA is a newly established adventure tourism company based in Western Australia. They requested a logo design to be created for them, to communicate a clear brand identity and to promote the company. This logo was intended to target an audience of families with children, whom are adventurous, love to travel, and come from a middle socio-economic background. The logo design needed to be a combination mark, which incorporates imagery that correlates to natural elements of Western Australia and type that clearly emphasises the company’s name. Additionally, it was also required to maintain a relatively simple look, evoke a lively feel using bright colours and be able to be applied to an array of products. Therefore, within the logo design, imagery of a sun and waves were utilised to highlight key natural elements of WA, whilst the large scale of the text emphasises the company’s name. Using an array of bright colours, an upbeat feel was generated, whilst the use of the geometric shape of the semi-circle and the sans serif font maintains a look of simplicity enabling the logo to be suitable to be transferred to a vast number of sizes. Additionally, the client also requested a board game design, with the intention to be gifted to children aged 8-12 years old and who also speak English or live in English-speaking countries. The board game design needed to be fun, interactive and educational, include imagery that relates to natural elements of WA, props and bright colours and somewhat follow the structure of the game snakes and ladders. Therefore, the board game encompasses an array of imagery that highlights iconic destinations in Western Australia, along with a vast number of bright colours, shapes and patterns to compose a fun and playful look. The board game is accompanied by tokens and game cards which contain questions about Western Australia, furthering the educational aspect of the game and establishing an interactive experience. With Adobe Illustrator, I was then able to create two visual communications which align with the needs of the client.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

HUGO KNIGHTS-BURKE (M) Ansett was a prominent airline that operated for 66 years from 1936 to 2002. The airline was renowned for providing luxurious services to high-paying customers but unfortunately collapsed in the early 2000s.

In 2023, an investor decided to resurrect the company and target its services towards an audience primarily consisting of frequent flyers aged 30 to 60 years old, especially those who had been previous customers and are most familiar with the brand.

The client requested a revitalised brand to bring the company into the modern era. This encompassed the creation of a new logo and brand identity to represent the company, as well as a tray design to be used for meal services on longer flights. My logo design focused on reimagining the old branding, while still retaining key elements such as the colours and the ‘A’ graphic. I also created a livery for the aircraft which used a cropping of the logo, while maintaining the core brand identity. For the tray design I combined the tray and dishes together, streamlining usability, reducing washing requirements, and using cost-effective, durable plastic materials.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

GRIFF PERRET (GA) My client, Diamond Cut, is a game development company. The client had a concept for a video game named Malevolent, an AAA* rated real time strategy game for mature audiences (16+). Diamond Cut wanted to create a dungeon crawler game, set in a cyberpunk time period (futuristic). They envisaged the game to include elements such as non-human characters, magical aspects and futuristic technology (which may include augmentations). The client requested a game title card design and a concept for the titular character for this video game. The target audience suggested by the client included adolescent gamers of low to mid economic status.

To produce both designs, I used Adobe Photoshop. I designed the character, named Malevolent. From multiple designs, it was narrowed down to a half-elf, as shown. This provides the perfect balance between cyberpunk and dungeon crawler as the character’s elven heritage is shown, along with cybernetic augmentations.

For the title card, I experimented with multiple designs before settling on the final one, emphasising the cybernetic and menacing aspect of the game. This is shown by the bright colour scheme and the arms coming out of the villain’s logo. *AAA games are produced and distributed by a midsize or major company, which usually has a higher development and budgets than lower tiers.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

LIAM YAU (CU) Yau Architects, a fictional client located in Melbourne, Victoria, has given me a substantial task to create a concept design for a residential house that would encapsulate the spirit of a minimalist and environmentally-conscious home. The client has also requested a brochure design, intended to showcase and market this extraordinary dwelling. Their target demographic? Individuals aged between 25 and 45 years old, who are in search of a place to call their own. The presentation delved deep into intricate details, showcasing vibrant perspectives, floor plans and refined elevation drawings, all seamlessly interwoven with a brief introduction, in harmony with the central concept. On the flip side, the brochure took the form of two captivating house images, clear floor plans, appealing elevations, user-friendly contact information and a concise project overview. It was all about striking that harmonious balance between their requests and our delivery. Both these materials elegantly converged, reflecting the graceful fusion of minimalist essence and a contemporary design approach.

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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2023

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THANK YOU I would like to say a very big thank you to the Visual Arts Department staff and especially to Mrs Lucy Haigh, who was in charge of two 12 VCE Art Making and Exhibiting classes, and Ms Jen Nicholls, who taught 12 VCE Media.

I also want to acknowledge the hard work of all the other members of the department: Ms Sharron Goodwin-Ryan, as well as Jane Maaser and Rupert Porter, our Art Technicians. I am also most grateful to the art staff from our other three campuses. I am sure that at various stages of their artistic journey, many of the art and design graduates were taught or assisted by them. The work that you see in this catalogue would not have been created if it was not for the staff’s ongoing mentorship of the students.

Likewise, I would like to express my gratitude to Georgia Danckert (Cl) and Carl Sun (FB) who, as the Visual Art Captains, represented the Department this year.

Finally, special thanks must also go to Stef Driscoll, Chloe Flemming and Nick Sculley, responsible for this wonderful publication.

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