This is the audio description of the Top Designs 2024 Welcome Wall, the first encounter visitors will experience when arriving at the Mind and Body Gallery at Melbourne Museum.

The wall displays in landscape orientation white text, logos, access symbols and 2 QR codes on black background and colourful oval shaped opalescent forms, with linework inspired by cartographic maps, they signify the different pathways available to students post-VCE and the opal-shaped forms together with lines reference oversized fingerprints, marking the individuality of each exhibitor and their unique educational journey.

The lustrous rainbow-like array of colours of each oval form, is similar to what one might see in an oil slick or mother of pearl. The colours are iridescently and uniquely combined per shape with some that are blue-green, others that are blue-green-purple, and an abundant that include the blue-green-yellow- purple- pink and or arrange-red spectrum.

The wall has an inviting touch-friendly area left of centre middle where those who are standing or seated can reach out to feel the raised outlines and markings to connect with the visual motif of this year’s exhibition.

The first column of text reads:

Top Designs acknowledges the Wurundjeri Woi Wurrung peoples of the eastern Kulin Nations, on whose ancestral lands this exhibition takes place.

We acknowledge First Peoples as the traditional and ongoing custodians of the lands across Victoria, where exhibitors have investigated new creative possibilities and developed their bold designs.

We pay respect to all First Peoples as the first innovators, inventors, storytellers and creatives of these lands, and recognise the deep knowledge of their Countries.

The second and third column of text that follows reads:

Welcome to Top Designs 2024, a celebration of outstanding work by students who completed VCE and VCE VET design studies in 2023.

Now in its 24th year, Top Designs showcases the future of contemporary Australian design. The products on display highlight the innovative, solution-based thinking of their designers.

With applications received from government, independent and Catholic schools across Victoria, panels of expert educators selected 92 works across each of the 10 design studies. The panels considered the imaginative ways students responded to the assessment criteria and the strength of design development and folios in their decision-making.

Managed by the Victorian Curriculum and Assessment Authority (VCAA), Top Designs is part of the VCE Season of Excellence, which also includes Top Talks, Top Screen, Top Arts, Top Class and Top Acts.

Presented by, logos in order: The Victorian Curriculum and Assessment Authority and Victorian State Government, and cultural partners: Melbourne Museum and Eckersleys Art and Craft.

To the right of the welcome wall is another panel with heading Accessibility Resources.

The text reads:

Top Designs 2024 accessibility resources have been created in collaboration with Vitae Veritas and Melbourne Museum.

The text below accompanied with their respective access keys and symbols is displayed as follows:

This exhibition is fully wheelchair accessible.

This exhibition includes 24 audio descriptions.

All audio content in this exhibition is open-captioned.

This exhibition is described in an access guide.

The nearest Quiet Room is located near the entrance of the Gandel Gondwana Garden and has a sign on the door saying Quiet Room.

A tactile map of this exhibition is available.

Large print exhibition labels are available online and in print.

End text.

More about the welcome wall QR codes.

Two QR codes are displayed next to the accessibility resources list and is reachable to people who are standing or may be seated. The first QR code is the current description you are listening to- about Top Designs 2024 and the welcome wall. The second QR code will navigate users to the Top Designs 2024 accessibility web resources page.

More about Audio Descriptions.

QR codes for each of the audio described student works can be found consistently displayed on subject banners throughout the exhibition. The audio description and accompany images and/or films will be played via Youtube videos embedded into the page.

More about the Tactile Map. The tactile map is displayed on a pedestal to the right of the welcome wall, below the accessibility resources information panel.

Thank you for attending Top Designs 2024. We hope you enjoy your experience.

The exhibition is open 9am to 5pm from Saturday 23 March to Sunday 14 July 2024.

CLM1 is a VCE Product Design and Technology, Wood, Metal and Plastics student work designed by Luca Cimino from Marcellin College, Bulleen, Wurundjeri Country.

CLM1 is a pendant light designed to illuminate and enliven an otherwise bland foyer.

Made of Victorian Ash and Acrylic, there are five interlocking and cascading thin beams of timber suspended with clear nylon string from the ceiling.

Each beam is wavy in shape and based on the curving road systems, potentially freeways, as is described in the exhibitor statement and goes on to say that the piece has been designed to be based around the Citylink M1 in the southeast of the Melbourne CBD, it’s end user, a traffic engineering company.

Along the pale brown of the Victorian Ash surface, heavily varnished with many coats making it appear more yellow and warm than is usual, six evenly spaced short and transparent acrylic rods protrude like struts along its length.

The struts create points of interconnection from one timber beam to another, to another, to another, creating a flow from top right cascading down and across to bottom left, and overall with the LED lighting strips along the bottom of each, the pendant lighting as if floats in space, where the light catches its abstracted outlines that appear to be like clouds…or rather road routes dreamily drifting by.

Microbat and Pardalote Nest Boxes is a VCE Product Design and Technology, Wood Metal and Plastics student work designed by Michael Streader from University High School, Parkville, Bunurong Country.

Australia has one of the highest rates of biodiversity decline worldwide, with habitat loss a leading cause. In urban areas, where almost half of these threatened animals can be found, vital nesting hollows are in critically short supply.

The artificial alternatives are often poorly insulated, lack important species-specific design features, and are unattractive in appearance.

The student’s range of nest boxes aims to encourage the installation of artificial habitat in urban areas by combining pleasing aesthetics with improved artificial habitat quality.

Made of recycled hardwood fence palings, hoop pine marine plywood, metal hardware, beeswax and oil finish the four nest boxes weigh in range from 5.1 to 5.7 kilograms and the dimensions of three are 574 millimetres long by 287 millimetres wide by 192 millimetres high, with the fourth nest box only being slightly shorter in length.

The shape of the nest box is similar to the rounded newspaper holders on top of traditional mailboxes, and are fitted upright, with the flat plywood base secured against a wall, tree or mount.

The door panel also made of plywood faces upwards, and when removed, narrow and snuggly plywood compartments within can be accessed and settled into by tiny flying microbats and/or small wrens (or pardalotes).

Three of the curved front panels each have a cluster of decorative circular etchings and cutouts which breaks up and softens the hard straight grain running vertically where the beeswax also brings out the timber’s natural honey and mahogany coloured warmth.

The instructions include:

Front curved panels slide off.

Do not lift boxes by the front panels.

Lift boxes only by the rear keyhole shaped holes.

Do not turn boxes upside down and when installing slide off front panel and refit after hanging.

Utility Jumpsuit for Fine Artists is a VCE Product Design and Technology Textiles student work by Jasmine Goon from Ballarat High School, Ballarat, Wadawurrung Country.

A full length jumpsuit in earthy beige, tan and brown tones, incorporating functional pockets and utility belts for brushes, pens, pencils and other artistic tools, along with an integrated top with collar and long sleeves, has been made from 100 per cent reused cotton corduroy and denim jeans, elastic, satin, zips and press studs. On first glance one might assume the suit is comprised of two pieces- a pair of overalls with a top underneath and on closer inspection one can see zip lines along the elbows and knees where when undone can transform the garment into a short-sleeved, knee-length jumpsuit for warmer days.

The utility jumpsuit was created to address fine artists’ need for practical and convenient storage. Designed to redefine a conventional art apron, this unique garment has biodegradable full-body coverage that safeguards the user from mess. With strategic arm, torso and leg pocket placements effective material accessibility is supported whilst eliminating desk clutter. Contrasting colours easily identify material stains and aesthetically complement with wearable art to promote artistic expression.

The upper half of the jumpsuit has a tan-coloured pointed collar, with brown front and olive green corduroy overall straps that buckle onto silver buttons beneath.

On the front panel of the jumpsuit, on chest is a small notebook-sized pocket and below that spanning the waist is where a fixed utility belt sits with 12 narrow compartments where brushes, pens, and pencils can be contained. The size of the waist can be adjusted with sliding straps that secure on velcroe.

The sleeves are made of brown corduroy with large, beige pockets on the upper arm and another row of narrow compartments on the lower arm.

The lower half of the jumpsuit from waist to knee is brown corduroy, that has large, zipped pockets, one on each thigh and at back has an oval shaped denim pocket on right hand side.

The pant legs from knee to ankle are wide and made up of chequered patchwork in olive and tan squares.

A long centre zipper on back indicates how the wearer would enter into this rich-textured jumpsuit.

A garment of practicality it is easy to imagine an artist at home, in a studio or out in the world creating, flourishing a brush from their utility belt, a tape measure from an arm or thigh pocket or a small sketch pad from panel front…the artist at work.

Metamorphosis of a Butterfly; Interactive Teaching Garment for Prep Aged Students is a VCE Product Design and Technology Textiles student work by Sofia Korfiatis from Star of the Sea College in Brighton Bunurong Country.

An attire comprised of two garments made of cotton and polyester fabric, it combines a sleeveless knee-length pencil dress with a separate full-length circle skirt tied at the waist.

Viewing the dress from the front, it has 6 vertical coloured panels seamed together.

The panel colours from left to right are dark olive green, deep emerald green, forest green, light sage green, yellow and cinnamon brown.

The back of dress has 4 sage coloured panels seamed together side by side.

The circle skirt is reversible. One side is uniform in colour, sage green. The other side has a kaleidoscope of butterflies printed onto black fabric.

This design was developed as an educational tool to teach prep students the process of a butterfly's metamorphosis.

The butterflies on the garment were drawn by prep students and then printed onto fabric.

The garment was designed to engage these students, by reflecting on their own creative work.

The transformation of the garment represents the stages of metamorphosis.

The dress symbolises the caterpillar. The skirt represents the cocoon, which when worn as a cape, signifies the butterfly.

The caterpillar stage. The pencil dress, as the name suggests, alludes to the cylindrical body of the caterpillar, is straight, with a Florentine neckline, cut square from the shoulder tip down to the chest, then squared across the centre front. Both straps are made from the deep emerald green coloured fabric.

Along the dress’ right seam, three wide dark olive green tabs with a bright yellow fabric covered button on the end of each are positioned horizontally at various distances apart. One tab at hip height, the other at about thigh height, the lower one at knee height.

These tabs with large yellow buttons can be likened to the spots and markings on a caterpillar, to warn or repel predators in nature.

The cocoon stage. The full-length circle skirt, sage green side up, that is wrapped around waist, tied at front, provides a sense of protection to the inner dress or caterpillar beneath. When worn, its voluminous folds and weight would sway with the movement of the wearer.

The butterfly stage. The skirt when untied and flipped over to its other reversible side, reveals a kaleidoscopic burst of colourful, hand drawn butterflies, and can be worn as a cape across the shoulders, tied at the neck. The length of the cape when worn this way falls to just above the dress’ hemline.

Along the hem of the cape (and/or skirt), a row of 3 dimensional fabric butterflies have been sewn, spaced approximately 20 centimetres apart. Each butterfly alternates in colour- yellow, pink, red and green.

The palm-sized butterflies printed on black fabric are each as individual and unique as the young students who created them with a range of ink pens, coloured pencils and crayons. All feature different patterns and markings, with asymmetrical, irregular shaped wings, and altogether, when the wearer holds the ends of the cape with outstretched arms, they too can flap their wings and take flight in the fantastical freedom of metamorphosing into a butterfly.

Puddles is a two minute second second media film by Henry Qiu from Brighton Secondary College in Brighton East, Bunurong Boonwurrung Country.

Struggling with their sense of self and identity, the young child in a gloomy suburb in this animated drama escapes their own reflection by stomping on puddles.

A gray animated sky with patchy clouds, powerlines, rooftops and fences pans down to a deserted intersection of a gloomy streetscape of suburbia.

In profile we see the footpath and road full of white irregular-shaped puddles as a young child with pale peach hair runs along from screen left to right, splashing through each. Their step just missing a little green caterpillar on the ground nearby.

Running along, big eyes, happy and determined, the young child suddenly trips and falls onto their knees, astonished and panting to be face to face with their reflection in a puddle.

Their reflection, slightly distorted in monochrome greys stares right back to them.

Running away backwards in panic, they stumble and fall, but rise up, to resolutely sprint back, stop and stand, daringly look down, before splattering their reflection with a stomp again.

The child dashes across the street, past a small green cocoon that quivers nervously.

The child encounters another watery mirrored image of their self before with two feet this time they purposefully stomp it out.

The unsettled refection with absent eyes, looks forlorn as it wavers.

Turning around, the child notices the cocoon bursting open.

An orange coloured winged butterfly breaks free, fluttering up to the now blue skies, with pillowy white clouds above, where the sun is now out.

The teary child kneels, wistfully looking into a new puddle, still troubled, however staying bravely, they reconcile mixed feelings through soft smiles of reconnection, unity and self-acceptance.

Afresh, renewed, the young child runs off into the distance, out of view as the butterfly returns fluttering on screen and is replaced by blue swirly bubble text that reads Puddles.

Screen goes to black.

White text on black background as if handwritten in chalk on board reads:

A Short Film by Henry Qiu.

Special Thanks Kasiake.

Thanks for watching, with additional words Trans Rights! Re-watch on Youtube and The Animation Process with arrow pointing to a box with rudimentary animated sketches of the young child.

Don’t Burn the Toast is a four minute four second media film created by Lucas Taylor from Alice Miller School in Macedon, Wurundjeri Country.

Through an absurdist comedy and fantasy lens, Don’t Burn the Toast depicts a teenager’s internal turmoil when encountered with a toaster in his kitchen.

The film starts with a black screen followed by four slides with white text on black background:a Lucas A. Taylor Film. Sage Drakken. David Prince. And Pauline Wilson.

The text continues with the first word of the title Don’t.

It starts small and with each beat is written larger and larger. A slice of burnt toast falls across screen. In kitchen toast on plate gets buttered. Don’t Burn the Toast written on top.

Fridge opens. Bread out. In toaster. Timer on.

Next, we see the back of a young person looking onto the kitchen benchtop where a toaster, timer, butter and an empty plate sit. Zooming in slowly. The toast pops.

Next, the young man, blonde hair blowing in the breeze, with a magnifying glass in hand inspects a miniature human with a toast head dancing tauntingly in the toaster.

His hand approaches, where the two slices sit.

Snatches them. Puts them in the bin. Turns timer off. Back to the bread bag.

Two new slices in. Timer on again.

Back to the kitchen benchtop with fresh bread in toaster waiting.

“You heard them. Don’t burn the toast. Don’t burn the toast.” This voice from the toaster that has animated googly eyes and mouth talking to the man’s younger self, the boy, walks away.

The toaster now alone and pitiful, is central in series of snapshots as if stuck at a waning party, wearing slanted party hat, loose bow, crooked moustache, an item of clothing strewn on it’s top.

An extended arm with vintage alarm clock on wrist, time on clockface reads 8.05.

The pyjamaed white socked man is suddenly flung away into a black nether region where timer, toaster and kettle hover in space. Camera swiftly zooms in. Toast pops. Confetti falls.

In foreground the toaster with golden toasted bread sits as white text cascades down from top of screen reading: Directed by Lucas A. Taylor. Production Assistant Lil Myers.

The toaster has caught fire, flames on screen.

Back to the real kitchen. Two slices of burnt toast sit in the toaster that this time has extra wide fearful googly eyes. Back and forth with young man bellowing also.

Screen divided by crust of toast flaming, on left one half of young man’s face hollers, on right, the toaster wails.

The toaster continues to scream through different backdrop locations- the universe, the bush, outside a town hall.

Back to the kitchen again the young man unbearably approaches the toaster, collects two slices from it that happen to be golden brown. Close up of hands buttering one with knife.

“Don’t overboil the water”, says the silver kettle with animated googly eyes and slim drawn mouth.
The viewer is taken back to the black nether region where the kettle, timer and toaster hover before tapering away into the distance and disappearing.

White text on black background: Directed by Lucas A. Taylor. Production Assistant Lil Myers. Second Production Assistant Grey Donaldson. Music Composer Aubrey Berger. Boy played by Sage Drakken. Boy Double by Lucas A. Taylor. Mr. Toaster David Prince. Ms. Kettle Pauline Wilson. The Choir Emily Benett’s Vocal Group. Choral Sound Engineers Lil Myers and James Cecil.

Final white text on screen: Don’t Burn The Toast.

Film ends.

Joyce Xu is a VCE media photography student work created by Jiayi Xu from Lauriston Girls' School in Armadale, Wurundjeri Country.

Featuring thirteen digital photographic portraits in colour inkjet prints, the self-portrait photography series explores the student’s journey as a Chinese immigrant, delving into the emotional layers of assimilation and heritage rejection.

Inspired by their dual upbringing, they peel back emotional veneers, offering a unique perspective on the intersections of Gen Z, contemporary society, and entrenched traditions. The series captures internal conflicts, leading to a poignant reconciliation with their true identity and a profound love for Chinese culture and state this journey is ongoing.

The thirteen portraits are exhibited in a linear format, mounted on the wall and is aligned to the progressive narrative embedded in the series.

The first photo in long shot features the subject sitting cross-legged in chair, wearing red qipao dress, holding a red oil-paper umbrella across their right shoulder, beneath white tulle, wearing red shoes where underfoot is a closed dictionary. The lighting is low contrast and diffused.

Their makeup across all photos is traditional Chinese style having thin eyebrows, and vibrant red lip colour.

The second image is the subject in medium shot wearing same clothes, sitting cross legged, holding the length of their long braid in two sections that drapes across the front left side of their body. They look assured yet detached into the camera and the image represents the seclusion and arrogance felt when they first arrived in Australia and their struggle to assimilate.

The third image is of the subject at table with brimming hamburger on mirrored plate in front, tightly grasping chopsticks like a knife and fork in either hand, their eyes are closed, their long braid circled around their neck twice, lips slightly apart, chin and head slightly tilted up, and represents the suffocation caused by adopting Western culture.

The fourth photo is a medium shot with a diagonal composition of the subject lying on the ground taken from a high angle, their head closest to the viewer, eyes closed, braid wrapped around their waist. In both outspread palms and on floor, scattered soil is present. The image represents the loss of their cultural identity, and the imbalance and vulnerability of their emotional journey.

In photo five the composition features a medium-long shot of the upper body, with the subject positioned at the centre of the frame. The background is vibrant red. The Chinese girl is wearing a red qipao. Her arms are folded tightly to the back. Two white flowers placed in both of her ear’s act as a visual representation of blocking out external voices and criticism, reflecting a resistance to listening to alternative perspectives.

The composition of photo six is a long shot of the subject standing far away from the camera in profile facing left, enveloped beneath a red veil symbolizing and amplifying their cultural identity and strength.

Photo seven is of the subject in profile in silhouette facing right, with red oil-paper umbrella in background which serves as a symbolic focal point and draws inspiration from traditional Chinese shadow play. The colour palette is red and black and represents the subject feeling torn between connecting with the outside world and seeking inner reflection for change.

Photo eight is a medium-long shot capturing the full body of the model positioned centre, beneath a red veil wrapped around their head and neck against a vibrant red backdrop. Wearing a red qipao, paired with red high heels, she holds a red toy hammer, symbolizing communism. With the other hand, she pulls back the red veil that covers her head, suggesting self-restraint or suffocation, inviting viewers to contemplate themes of personal freedom, cultural identity, and the individual's role within a larger ideological context.

Photo nine is a close-up shot of the subject’s head and neck. The camera angle is rotated 90 degrees to the left, adding a dynamic perspective to them standing in profile in front of a backlit red oil-paper umbrella. The branch held in their mouth points to the right. The branches secured in their hair point upward, forming a perpendicular angle and represents her struggles with adaptation and finding her identity in a new environment.

Photo ten is a medium-long shot of the subject sitting on the ground with her knees drawn up positioned against a yellow background, emphasizing the theme of the pandemic. In the foreground, there are two biohazard tapes highlighting discrimination and stigma faced by China and Wuhan.

Wearing the white hanfu dress and small white flowers in their hair symbolizing mourning and the collective pain experienced, the subject’s face is tense. They hold two lotus pods. Above the subject’s head, there is a pair of open winged bats with yellow eyes, symbolizing the mingling of fortune and adversity during the pandemic.

In Photo eleven the subject is off centre, against the left border wearing an N95 mask with a yellow strap alluding to the pandemic and the grief and loss the Chinese community experienced, their voices silenced. Blue paint over the eyes resembles the spray of sanitisers and dehumanization of Asians during those challenging times.

The final two images mark the narrative's resolution.

In photo twelve the subject wearing a white hanfu, is seated on the floor covered with mirror foil paper, which creates a reflective surface, giving the impression of sitting in water, surrounded by lotus flowers and leaves, their hair adorned with pink flowers, the background of yellow silk fabric is warm and hopeful. She is connected to her Chinese heritage.

In photo thirteen, in the same scene as the previous photo, the composition features the upper body of the Chinese girl wearing a white hanfu, long side braid cascading down, adorned with numerous pink flowers, holding rich soil in cupped hands, symbolizing fertility and growth and connection to her cultural roots. Additionally, she has a pink lotus flower delicately held in her mouth, representing the blossoming of life and self-imposed silence to foster reflection and growth, and in the student’s final words they encourage the audience to think that the story doesn't conclude here.

Shooting for Rabbits is a VCE media print student work by Lily Tran from MacRobertson Girls' High School, Melbourne, Bunurong Country.

A gamebook, Shooting for Rabbits is a whodunnit story with a twist.

In this half book, half board game, choose-your-own-adventure narrative inspired by the work of Agatha Christie and Rian Johnson’s Knives Out (2019), readers work to determine the sequence of events that have led up to the death of an unpopular patriarch, before the killer strikes again.

The printed book is supplemented by additional materials, including tactile clues, maps, and handwritten notes directly from the story, all stored in a purpose-made box.

The box, a hollow white hard cover book, has several compartments and trays concealed within and is wrapped in a bright red ribbon of paper with the title in bold and cursive typeface printed on the front band in black ink: Shooting For Rabbits. Lily Tran.

Inside there is:
An invitation to the party, newspaper articles, business cards, photographs, a medicine label for ‘venazole pedoxen’, several envelopes for clues, several blueprint maps for different rooms such as the attic, billiards room, guest bedroom, master bedroom, library, kitchen, dining room, parlour and the maze, and the A5 printed story/gamebook with hand stitched spine.

A folded poster with ominous message has been photocopied from an assembly of collaged letters cut out from newspaper and old print, one writes: We Know What You Did. Watch Out.

The book itself starts with a black graphic, an image of a large rabbit in mid hop, their tendrilly long ears amongst wispy thin and stringy coiling lines, has next to it the initials S.F.R.

The following 170 pages include a prologue, a handy instructional guide and in the spirit of choosing your own adventure, prompts for the reader to turn to specific numbered pages, and at times multiple choice options and their corresponding page numbers, seeking response to questions like: What should Gunther do?

Intermittently throughout, along the left or right-hand margin an envelope icon can be seen, with a number in centre, directing the reader to seek the corresponding packet from the book/box to obtain further clues.
Page 170 writes: Nice try! This isn’t a normal book and you can’t just skip to the end to find out who did it.

Put some effort in please. Go to page 13.

And on page 52, a note in corner writes: Looking for pages 57-64? Congratulations! You’ve just uncovered the second problem of this book. Pages 57-64 have been mysteriously reshuffled somewhere else…can you find them before the killer strikes again?

And for anyone who finally solves the story, they will obtain, by cutting along the dotted line, a certificate for the successful completion of the whodunnit murder-mystery on page 63.

Undergrowth is a VCE media print student work by Abigale Quin from Wurun Senior Campus, Fitzroy North, Wurundjeri Country.

The exhibit displays the front cover of their graphic novel.

The accompanying exhibitor statement reads: “When creating Undergrowth, I wanted to combine several mediums to reflect my love of creating visual art in many forms and to appeal to a younger audience through pops of colour.

The narrative follows two teen girls, because a lot of my art style and interest in illustration started developing around that age and I wanted to root my year-long passion project of illustrating a graphic novel in something that was comforting and familiar.”

Their statement ends.

The front cover features the title collaged from individual cut out letters from newspaper and magazine print.

Below, the two young friends stand slightly apart at the entrance of a forest that has three pairs of eyes peering at them through the foliage.

The friend on left has light blonde brown hair tied in two plaits, wearing a stripy blue and peach long sleeved top and turquoise denim jeans.

The friend on right with short dark brown hair, wears a red hat, light brown outer jacket and turquoise blue jeans.

Both have bright red circles marked on their cheeks, and long elliptical shaped eyes vertically drawn, and in the foreboding sense of the environment they too look somewhat daunted and apprehensive when they embark on an adventure when skipping school one day.

s. k. 8. Skate, is a 30 second VET creative and digital media animation created by Chloe Clayton from Galen Catholic College in Wangaratta, Yorta Yorta Country.

By primarily using Ibis Paint X and Adobe Animate software, Sk8 follows a young adult girl who's training for a roller derby tournament.

Black screen. Title in white text appears centred, in brushstroke font S. K. 8. Skate.

A dark-skinned young person wearing a grey singlet, pink shorts, knee and elbow pads strap their roller skates and helmet before beginning to skate around the gymnasium rink, alone.

They repeatedly go in circles, training. The colour palette of the vast gymnasium changes from bright to dull showing the passing of time.

Pale concentric lines on the ground mark the lane in which they skate, forever doing laps.

They slow down. Stop. Looking fatigued, they catch their breath.

Scene changes. Race day. Crowd in background. At the start line. The skater stands side by side with a competitor. Both determined looking ahead. They start. Scene cuts dramatically. Black screen.
White text on black background credits reads: Sk8 by Chloe Clayton. All visual assets by Chloe Clayton. Audio sourced from Free SFX, Free Music Archive and Zapsplat. Made using Ibis Pain X and Adobe Animate.Film ends.

Dysphoria is a 1 minute 46 second VET creative and digital media animation created by Sophie Price from Mentone Girls Grammar School in Mentone, Bunurong Country.

The film captures aspects of gender dysphoria that transgender individuals, specifically those assigned female at birth, experienced primarily before transitioning. The creator used research and some of their own personal experiences as inspiration for this work. The animation style is traditional where it has been created using a series of drawings that are 2 dimensional in plane and shape.

The film starts inside a bedroom.

A person’s torso walks across the screen, as the title Dysphoria in colour appears inside a black and scribbled pulsing bubble.

Wearing a pink top, the person’s upper half reflected in the mirror, looks troubled, confused as their clothing glitches into various traditionally western, female outfits.

They now wear a blue top with a white love heart on front, looking happy.

They walk into school, wave at their teacher, who waves back, but suddenly feeling awkward, insecure, their top glitches back to pink.

Looking despaired, at their desk, they gaze at a test paper.

They have to circle their gender, M slash F. After some apprehension over the M, they circle F with a pencil, fighting back tears.

The person now home, in bed, watches content on their phone by a trans creator who seems positive and happy, standing beside a blue, pink, white trans flag, but the person in bed, in blue top, tossing and turning has their sadness and isolation expressed through pale thin blue line drawings of themselves against a bruised and maroon coloured background, cradling themselves, sobbing. The image recedes, getting smaller and smaller.

Suddenly sitting up, their top is now pink again. Eyes still teary.

Nervously looking into the mirror they try to envisage themselves in other affirming outfits but the pink top prevails. More heartfelt tears and cradling follow.

The next day at school, at their desk, their top is pink with a white broken heart.

Another student walks up to them, confident, wearing yellow. The person at desk waves to them. They have a positive interaction speaking to each other shown through abstract talking bubbles with question marks. It seems to be revealed that they are trans too.

The person’s top turns blue, this time crying happy tears.

Both figures continue smiling.

Screen cuts to white.

Credits in blue text against white background:

Animation by Sophie Price.

Music is Allégro by Emmit Fenn.

Film ends

Driver Fatigue Detector is a VCE VET Integrated Technologies student work by Erin Stewardson from Northern College of the Arts and Technology, Preston, and Ivanhoe Girls Grammar School, Ivanhoe on Wurundjeri Country.

The exhibit displays an A4 sized, double-sided tri-folded brochure, an Arduino microcontroller, Vero Board, 3D printed housing box, webcam, smart phone, power cables and electrical components.

The Driver Fatigue Detector aims to reduce the road death toll by dealing with fatigue-triggered vehicle accidents, alerting drivers if their eyes are shut for over 20 seconds.

This product protects individuals with fatigue-related conditions, such as sleep apnea, who are at greater risk of falling asleep while driving.

The device monitors the driver’s face with a webcam and uses a live image processing system analysed through an eye movement detection code that detects eye closure and then triggers loud music via Bluetooth to the driver’s smartphone.

Key specifications are compactness, loudness, 12-hour operation, 2-second response, precise drowsiness detection, and user-friendliness.

The brochure contains written instructions with simple outline drawings and diagrams which explain the device’s components and its use.

The front cover page is coloured, pale blue, with heading in white text aligned to left margin, and across multiple lines, in capital letters, reads: DRIVER FATIGUE DETECTOR. Beneath this the explanatory text in smaller italicised font reads: Handling/Operational Instructions.

Unfolded, the next sections of the brochure contain blue text on white paper.

Instructions read 1. Connecting to power. For use in a vehicle plug the USB cable directly into a USB port in the vehicle. For Indoor testing, attach the cable to the white power brick once it has been inserted into a wall socket. Once connected, flip the switch on the cable to turn the device on. A note, word marked in red, tells the reader to ensure the indicator light on the power brick is green before moving on to the next step. Two accompanying diagrams a hand holding power cord, finger pressing power switch.

Instructions continue on third inside panel. 2. Setting up the camera. For use in a vehicle, place the camera holder in a location on the windshield that doesn’t obscure view. Face the camera in the holder. For indoor testing place the camera on an object approximately level with the operator’s face. Once in position, orient the camera so it is pointing straight towards the operator’s face. One accompanying diagram, a person standing in profile.

Turning the brochure over, the first panel reads 3. Connecting the phone. Turn the smartphone on and navigate the settings. From there, enter connections, then bluetooth. Connect to the paired device ‘ESP32 Keyboard’. One accompanying diagram, a finger navigating settings on smartphone.
Centre panel. 4. Setting up the Audio. Once the Bluetooth connection is established, return to the home screen, and open the music player app. No accompanying diagram.

Third and final panel. 5. Operating the device. In order to use the device, the operator must be located in front of the device with closed eyes for a period of approximately 20 seconds. This will then trigger the audio on the smartphone to play. Once the device recognises the eyes have opened, the audio will pause and the indicator light will return to green. No accompanying diagram but a note, word marked in red, informs the user that if any issues occur in following these instructions, power off both devices, wait 10 seconds, then power them back on.
Included in display is the white power brick, approximately 10centimetres long, 6 centimetres deep and 1.5 centimetres high, USB cable, webcam, and camera holder, all black, and a smartphone.

Hall Table is a VCE VET furnishing student work by Toni Halwi from Braybrook College, Braybrook, Wurundjeri Country.

This rectangular hall table is made from Victorian Ash and Jarrah timbers.

Victorian Ash is a strong and stable timber, with a fine straight grain and is pale brown to white brown in colour.

Jarrah is a strong, durable, dense hardwood timber resistant to weather, rot and fire, with a coarse and even grain, and is distinct for its rich reddish brown colour.

Approx 80 centimetres high, 1 metre wide and 50 centimetres deep, it stands on four slightly splayed square Jarrah legs, with two stretchers on either side to give them more structural stability.

Beneath the tabletop there is a drawer on the right-hand side with a single rounded metal handle in centre, and on the other side an open shelf, each of equal width and approximately 12 centimetres deep.

The drawer facing is made of Jarrah while the frame and inner box of the shelf and drawer is in Ash.

The tabletop is also made of Jarrah and features an inset T-shaped cross made of Ash oriented along the length.

The hall table has a highly polished lustre for how well Jarrah absorbs most finishes, and under the ambient lighting has a fiery coppery warmth and glow.

The student has utilised a range of joinery techniques such as dowel joints, mortise and tenon joints and lapped dovetail joints.

A dowel joint is commonly used to reinforce butt joints, the joining of the end of a board to the face of another. It is made up of two pieces with holes drilled, into which glue and small round wooden pins, known as dowels, are inserted to connect them flush.

A mortise and tenon joint is used most often to join two pieces of wood at 90 degrees, also flush fitting, and consists of two parts: the mortise, the hole, and the tenon, the tongue, and is one of the strongest joints.

Finally lapped dovetail joints is where recesses in one piece are cut part way through so that the thickness of one board overlaps the end of the other. Considered to be the strongest of all joints, it is interlocking, resistant to being pulled apart and looks attractive when opposing pieces of timber contrast in colour.

The fine work of the lapped dovetail joints can be seen in the drawer fronts.

The student writes that although this was designed to be a hall table, this attractive piece would look great in any room of the house.

Interactive Key Puzzle Box is a VCE VET Engineering Studies student work by Zachary van de Ven from Swinburne Institute of technology, Wantirna South, Wurundjeri Country.

 

The Interactive Key Puzzle Box involves a series of puzzles, each leading to the creation of a three-dimensional key that is required to open the box. The box utilises a simple robotic system that detects whether the correct key has been used, and consequently whether to open the door in response.

 

The box is constructed from MDF, painted black, with tongue and groove joinery, and is approximately 40 centimetres cubed.

The side facings of the box are described to be north, south, east, and west.

On each face there are otherworldly pictures, glyphs and cryptic ciphers drawn in silver pen.

The top of the box has an intricate keyhole design.

On the south side is a circular door.

 

The box itself is split into 2 mechanisms- the lock mechanism and the door mechanism.

 

The lock mechanism is required to detect a complex shaped key and determine whether or not the key has been assembled in the right configuration.

Inside the lock are limit switches that need to be pressed simultaneously in order for the lock to open.

The mechanism for this connects an MG90 motor to a purpose built gear and a double arm system that converts rotational movement into lateral movement.

 

The circular door has a complex hinge system consisting of an internal double-hinge arm to be able to latch and unlatch when locked and/or unlocked.

 

The key comprises of four 3D printed modular pieces that must be assembled in correct order and direction onto a central metal thread approximately 10 centimetres long with a triangular handle on end to turn.

These components can be likened to resembling 3D cutouts of Old English typeface lettering. With thick and thin lines, elaborate and angular, one looks like an X or cross, another like a capital letter T, another like a capital T and F conjoined, and another resembling a capital L, so that when the assembly of the key has finally been solved, it looks like an intricate network or maze system attached to a small handle.

The puzzling marks and pictures, there to be solved, feature an antler skull, pyramid, celestial map, tower, mountain ranges, a monument’s steps, and the cardinal directions.

The puzzle itself. The following two passages must be used in combination with deciphering the messages on box in order to decode the correct key solution. Passage 1. “The world is one of decay. All ends in eradication. But stories don’t start at the end, they start at the top.  With range, of creation and beauty. In this time, this glorious time, the Worlds all become anew, from there on, the worlds live in the light of the glorious East facing sun. They live, they breathe, and they die in its light. But when the charisma of death is unavoidable, they move only to the north east. Life continues like this, until the age of man, when the development of industry and change bring forth a new light. But when men have wars, the tanks, soldiers and jets all follow after death, into the south. However, when death gets sick of all the needle’s work, he brings forth the end, as all are eradicated, taken behind the event horizon, only for the cycle to begin anew. Wherever you are in the ages, remember to use the guide to direct you on your path.”

 

Passage 2. “One might look at a black hole, and want to keep it as far from themself as possible, they might try to fly away, or maybe take a boat. They might end up in a desolate place, full of the dead, at first, or maybe a silly temple, but in the end, they will seek refuge in the mountains. There they might see the directions from which they came. First traveling north east, then being pointed south east, and finally ending up looking to the stars, in the north.”

Alquist, Rossum's Universal Robots, by Karel Čapek is a VCE Theatre Studies set and prop design work made by Jazmin Golding from Sandringham College, Sandringham Bunurong Country.

The selected display components include:
Futuristic lab table with triangular prism shaped station casing top, spray painted metallic silver, with exposed power cable bundles on either side, a white lab coat is slung over one.

Featuring control knobs, hinged door and blue painted radar screen on upper facing front, the structure is bordered by LED strip lighting, and the printed area below the tabletop where test tubes in holder sit, show 4 rows of blue binary coding 1-0- 0- 0- 1-0-0-1-0-1-0-1 etcetera, below.
In contrast, the other display components include a small wooden writing desk and chair. Scraps of paper and hard back books with old and worn dust jackets sit on table top, along with a dark patinaed antique clock with roman numerals and a three arm metal candle holder.

The exhibitor label writes:

My interpretation of the character Alquist from Karel Čapek’s play R.U.R. aims to convey the character’s desperation and distress being the last human alive. Through my set and prop design, I incorporated angular and geometric composition to construct an abstract version of reality. In the construction of Alquist’s desk and chair, I aimed to create a dishevelled and worn aesthetic by distressing the timber and staining the desk in ink. The weathered state of the props found on Alquist’s desk aim to further convey his loneliness and desperation to save humanity. The metallic paint used for the robotic set piece intends to convey a futuristic aesthetic, representing the robots in the play. The cold and striking white LED lighting used in the set has an artificial aesthetic that contrasts the humanity represented in Alquist’s furniture. The test tubes and the silver holder align with the futuristic laboratory aesthetic and create balance through their similar colour palettes, cool tones and linear composition. This is furthered by the consistent use of steel and cobalt blues across both prop and set design.

Philoctetes of Paradise by Kate Tempest is a VCE Theatre Studies set and prop design work made by Tamsen Howard, from Sacré Cœur, Glen Iris, Wurundjeri Country.

The selected display components include:
Black wire panel containing fishing net. A danger, keep out, authorised personnel only sign. An archer’s bow. Plastic monstera and flags. Blue oil barrel with Penrite, the branding, stencilled in white. A tangle of rope. Rusted rocking horse torso, no legs. Plastic animal skeletons.

The exhibitor label reads: “Kae Tempest's Paradise is centred around an injured man who has spent 10 years abandoned on a remote island, living in a cave that has become both his sanctuary and his prison. My design concept emphasises the juxtaposition between the play’s ironic title and its content. Paradise is a bold socio-political statement. The character Philoctetes functions as Tempest’s raisonneur, confronting the audience with a tirade about the superficiality of the lives we have created. They comment on our morally corrupt world, which has been ravaged by power and greed, exploitation of people, and environmental destruction caused by the Western world's overconsumption.

The stage directions state that the island, once a thriving shipping port, now serves only as a detention centre and rubbish dump. This inspired my use of cyclone fencing and oil drums. The playwright was inspired by their trip to a Sri Lankan fishing village, seeing how the effects of war, natural disasters, and climate change had impacted the villagers’ lives. This also informed my mise-en-scene: Buddhist iconography, the colours of the Sri Lankan flag, palm leaves, sand, fishing net, a discarded tea chest and a motorbike tyre. The clash of visual cues is intended to communicate Philoctetes’ internal conflict, his nihilistic views (through memento mori) and the hope he searches for in spirituality and nature.

Philoctetes of Paradise by Kate Tempest is a VCE Theatre Studies set and prop design work made by Tamsen Howard, from Sacré Cœur, Glen Iris, Wurundjeri Country.

The selected display components include:
Black wire panel containing fishing net. A danger, keep out, authorised personnel only sign. An archer’s bow. Plastic monstera and flags. Blue oil barrel with Penrite, the branding, stencilled in white. A tangle of rope. Rusted rocking horse torso, no legs. Plastic animal skeletons.
The exhibitor label reads: “Kae Tempest's Paradise is centred around an injured man who has spent 10 years abandoned on a remote island, living in a cave that has become both his sanctuary and his prison. My design concept emphasises the juxtaposition between the play’s ironic title and its content. Paradise is a bold socio-political statement. The character Philoctetes functions as Tempest’s raisonneur, confronting the audience with a tirade about the superficiality of the lives we have created. They comment on our morally corrupt world, which has been ravaged by power and greed, exploitation of people, and environmental destruction caused by the Western world's overconsumption.
The stage directions state that the island, once a thriving shipping port, now serves only as a detention centre and rubbish dump. This inspired my use of cyclone fencing and oil drums. The playwright was inspired by their trip to a Sri Lankan fishing village, seeing how the effects of war, natural disasters, and climate change had impacted the villagers’ lives. This also informed my mise-en-scene: Buddhist iconography, the colours of the Sri Lankan flag, palm leaves, sand, fishing net, a discarded tea chest and a motorbike tyre. The clash of visual cues is intended to communicate Philoctetes’ internal conflict, his nihilistic views (through memento mori) and the hope he searches for in spirituality and nature.

Fingy Beans Hangboard is a VCE visual communication and design student work by Sophie Balis from Caulfield Grammar School, Wheelers Hill and Collingwood College, Collingwood, Wurundjeri Country.

Made up of two presentations, the first is an inkjet printed branding and presentation board on foamcore. The other is the hangboard model and prototype made of plastic filament and pine wood.

Fingy Beans is an online climbing brand who are passionate about efficient and effective training. They required a new logo and hangboard design for intermediate to advanced climbers looking to increase their finger strength and push their training to the next level.

Their goal was to provide climbers with a flexible and beneficial training tool; as such, the hangboard includes a range of hold types and depths to allow for a variety of training styles to be performed on a single hangboard.

The prototype pinewood hangboard with smooth honey coloured woodgrain is 600mm wide, 175mm high and 54mm deep, with twenty-five oblong indentations, called edges, cut into the board. These spaces allow for different finger grips, big enough for 1, 2, 3, or 4 fingers to fit into.

As listed in the tech specs the straight edges range from 25, 15, 12, 10, 8 and 6 millimetres, the angled ones 30 and 25 millimetres, the middle edges 35, 22 and 18 millimetres and one for a two-finger pocket grip is 22 millimetres.

There are eight screw holes to be able to secure the hangboard at any height, and has a phone holder spot at the back in the top left hand corner.

The branding presentation board has its graffiti style logo displayed in centre. The words Fingy Beans in large, squarish and plump, overhanging letters in tangerine orange, appearing to have the cutout look of the edges echoed, are surrounded in a thick indigo coloured border; and dangling on the right hand side between the y of fingy and s of beans, hangs a long limbed cartoon character with a gripping expression on face.

The three main colours of the brand are shown in a swatch along with their unique CMYK, RGB and hex colour picker alpha-numerical codes.

Above the logo on left are a series of business card ideas, some with the cartoon figure alone, others with the full primary logo, where some have dominant orange or dominant indigo colour variations.

To the right of this two beanie hats, one white, the other black, have the logo embroidered on the cuff or brim that has been folded over.

Below the central logo is a high-resolution photograph of the wooden hangboard standing upright on a table in foreground, with the colourful grips of an indoor rock climbing venue slightly blurred in background.

Zen+ Studio is a VCE visual communication design work by Tin Lok Zhang from Camberwell Grammar School, Canterbury, Wurundjeri Country.

Consisting of two presentations, the first is a keyboard made of PLA plastics and accompanying concept boards.

The second is the brand identity and packaging presented across nine inkjet printed cards and paper.

Design Brief: Zen+ studio required a compact keyboard design aimed at users aged 18 to 25 years, including packaging and a brand identity. 

The stackable keyboard and packaging design, and accompanying products, are inspired by a bento box. A bento box is a compartmentalised food tray. The functional design and cohesive minimalist aesthetic reflects the values of harmony, balance and simplicity found in zen philosophy and Japanese inspired styling.

Description of Presentation 1: Three stackable boxes 280 millimetres wide, 240 millimetres deep and 40 millimetres high.

With their lids off, inside each box there are five by six rows of cubes, these being the caps or keys of a keyboard.

The majority of them are white representing letters, some are cobalt blue, representing the different shift, alt, symbol and arrow keys, including the space bar.

The third box houses a number pad with a sliding bar in the last vertical row.

When expanding the layers that make up one keyboard box, the sections from the ground up consist of: rubber feet, bottom case, case foam, masking tape, PCB, stabilisers, PE sheet, plate foam, plate, silicone gasket, mid case, mechanical switches, screws, keycaps and lid.

The casing is presented with three options- smoked polycarbonate, light oak or bamboo.

Description of Presentation 2: The product components are packaged Bento style within a cardboard box. The package will arrive in a decorative outer layer made of card and paper branded with the company logo, and an interlocking paper bow on top. When opened, and when the bento box is expanded, the layers from the ground up include: The main box/bottom where space allows for packing foam sheets, the second layer that has compartments for the plates, pcb’s, stabilisers and screws, gaskets, aux and usb cables. The upper layer with 4 quarter sections, of which 3 house the keyboard cases and caps, the other empty, and finally on top, the lid.

The Zen+ Studio brand identity style guide makes up four of the nine sheets on display. The logo has a bonsai icon on left, zen studio in bold capital letters on right, all within a rectangular border with the plus sign in top right hand corner.

The bonsai is in shades of green within its own circular border, with the larger border and Zen+ Studio text in black.

It has a suite of variations ranging from full colour, alt colour, mono and white.

There is a hierarchy of typography.

For headlines and titles, it is Tokyo Regular.

For sub-headlines it is Avenir Next LT Pro.

There is also a page dedicated to the Japanese version of the suite and utilises the Shorai Sans Stdn typography instead.

The icon, or logomark family displays the primary colours of apple green, jade, grey and black, with the secondary colours having 6 other hues and shades of green.

The accompanying products in the aforementioned colour schemes, include drawstring bags, business cards, paper (gift or delivery) bags, bottled and jarred grooming products and creams, and t-shirts.

One sheet is devoted to the brand philosophy where a flow chart between images and words leads the reader to understand the inspiration behind the icon, main logo and colour scheme and Japanese influences such as the black circle around the bonsai icon representing the zen concept of enso, when a hand drawn circle expresses a moment when the mind is free to let the body create; the use of black positive space and white negative space representing the yin yang; and the colour tones associated within zen gardens, plus zen calligraphy and the Hanko seal that is used to sign documents signifying the name of an individual.

 

Happycapy is a VCE visual communication and design student work by Phoebe Kupsch, Wurun Senior Campus, North Fitzroy, Wurundjeri Country.

Happycapy, spelt as one word h, a, double p, y, c, a, p, y, is made up of two presentations.

Presentation 1 is of the Happycapy experience centre buildings and comprises of three inkjet printed foam boards that each have 3D digitally rendered images, text and labels displayed against a light sage and tea green background. The images are sun-filled, earthy and warm and have the luminescence of an autumnal morning or afternoon light.       

Presentation 2 is made up of five inkjet printed foam boards where the Happycapy logo identity is on one big board and all its phone applications across another four half-sized boards with 3D digital images, text and labels also against a light sage and tea green background.

Firstly with the design being called Happycapy, one may like to know what is a capy?

Short for capybara, and standing at two feet tall, this giant herbivorous rodent is native to South America and known to be quite friendly and intelligent. Simplified 2D images of the capybara, that otherwise has long, light brown shaggy hair with a face that looks like a beaver, and when anthropomorphised, as seen through the graphic design of this animal featured in the logo identity and abundantly in various colours and forms throughout the phone applications, the capybara may be perceived to appear quite cute and innocent.

Altogether these presentations are a response to, as the exhibitor statement conveys, a client called Happy Spark’s who wanted to base their therapy around capybaras given their placid temperament and social nature, where the organic features of the designs consider the surroundings and natural habitat of the capybaras. The accompanying phone app also ensures a continuous interactive experience, extending mental health benefits beyond the centre.

 

Presentation 1 board 1 shows photo-realistic 3D digital images of the main building (and where visitors enter), in the natural habitat of the capybaras, plus a plan view, a west elevation, and north elevation and three thumbnail close ups of specific aspects on the right hand margin.

The main building and its elevations show its rectangular shape with a tall tree growing in the open courtyard in middle, and a single wing on both the west and east side. The wings are annexed to the main building via a tinted glass walkway.

The main building and wings have terracotta coloured material covering the roof and two walls down to the ground, while the other walls are light yellow in colour. Circular concentric lines called ‘water circle pattern’ adorns the frontage.

Presentation 1 board 2 shows four photorealistic digital images. The first is of the secondary building with a body of water in front.

The second is an aerial view of the grounds inclusive of the main building at foot and secondary building at top, with water between, and trees surrounding, the centre is enclosed within a figure 8 shaped fenced border, which serves as a therapeutic play area where the capybaras and humans can interact.

The third image is a closer view of the body of water with building reflected on its surface and the last image shows a stepping stone path through the grounds of the grassy sanctuary.

Presentation 1 board 3 shows photorealistic 3D digital images of the secondary building that houses the capybaras and also serves as storage, along with plan view and north and east elevations, including three thumbnail close ups of various aspects on the left hand side margin.

This building is triangular with four layers of flat roofing, each having curvy edges and different organic shapes where in the plan view looks like the graduating topographical contours of land seen in cartographic maps.

The north and east elevations show panoramic windows that wrap around the tri-corners, set against the brown timber-like material of the undulating and curving outer walls.

The thumbnails from top to bottom show a back view of the dwelling, the panoramic tinted windows and organic roof.

Presentation 2 board 1 displays the style guide of the Happycapy brand across five horizontal sections. At top, the primary logo design. Below this, a paragraph of the client’s brief. Beneath this, three logo variations. Below that, a palette of the four main colours, each with their unique hex colour picker alpha-numerical codes, and underneath this, the typography which is Comfortaa Bold font.

The primary logo has the logo mark on left and text on right.

The logo mark features a larger capy, their face and arms, cradling a smaller capy’s face, in contrasting dark, medium and light green colours plus white.

The text next to it in the rounded lower-case font of Comfortaa Bold, across three lines writes happy, then capy and beneath this in smaller font size, experience centre. The ‘y’ of capy appears to have two leaves sprouting from its tail.

The paragraph below writes: “The client required a logo and brand identity for their newly developed experience centre called Happycapy’ where customers can interact with capybaras in a mutually beneficial, comfortable setting, delivering an alternative therapy for reducing stress, anxiety and improving their general mental health.”

The next section with three logo variations left to right show the logo in reverse colours, mainly white image and text against a dark green background, the logo mark on its own, and then the logo with text on the left hand side instead of the original right hand side.

The next four boards about the Happycapy phone applications provides a link between customers when at the centre, enhancing their interactive experience, and when they are away from the centre, as a means of extending the mental health benefits.

One can log their mood by choosing one of five differently coloured capybaras to start the mental health journey and track progress where the capy’s colour can alter according to the mood. Ie. Red is angry. Blue is sad. Green is okay. Yellow is happy. Purple is anxious.

One can be rewarded when you log a happy mood to maintain your mental health. One can also learn about capybaras, or find their way to the centre, snap a cap, collect others, and create collages to share with others, gain other rewards along the way or collect different trophies for a surprise.

Rubik's Cube Solver is a VCE Systems Engineering student work by Jamie Phelps from Belmont High School, Geelong, Wadawurrung Country.

The student has created a system that automatically solves a Rubik’s cube in less than 60 seconds. It uses a camera and a specifically designed colour detection algorithm to accurately read the Rubik’s cubes state. The system then uses the Kociemba solving algorithm to generate a sequence of actions to then execute these actions efficiently, to solve the Rubik’s cube. The time taken to read and solve the Rubik’s cube is shown on an LCD display screen included as part of the design.

The design brief and criterion describe for the product to be available in a robotics toy shop to increase customer engagement and interest and should cost no more than $400 Australian dollars, be safe and easy to use and work consistently in different lighting environments, on mains power.

The materials used in this design as listed on the exhibitor label include: Raspberry Pi 3B+, Arduino Uno, Arduino Uno LCD display shield, A4988 stepper motor drivers, NEMA 17 stepper motors, Pi camera module, lead screws PLA 3D printed components, laser cut acrylic components, push button, Aluminium v-slot strut, Rubik’s cube, Molex power connector.

Sitting on a rectangular based platform that houses the electricals, with the engineered system on top, the Rubik’s Cube Solver has a depth of 235 millimetres, is 420 millimetres wide, 240 millimetres high and weighs 3.8 kilograms. Although the solver is not powered on during the exhibition it runs on PC power supply with built in 12-volt, 5 volt and 3.3 volt rails.

Overall the shape of the object can be likened to an upside down stool with four protruding legs on top. Each black aluminium leg or strut is positioned centre along each side of the platforms edge, and is the supporting structure to which various components and brackets can be screwed and attached.

In centre, in mid-air, the colourful Rubik’s Cube is gripped from two opposite sides, with arms connected to motors that are attached to the struts, that activate the single axis system beneath to rotate.

The other two struts have attached the Raspberry PI cameras to detect the colours and state of the cube.

Mounted on the outer side of one strut is an LCD screen displaying timings and is housed within a white box casing and is approximately 70 millimetres wide, 40 millimetres high and 15 millimetres deep. A small LED bar illuminates the Rubik’s cube also.

The Rubik’s Cube Solver design folio is 68 pages long and provides detailed information about its research and development, and investigation into other puzzle solving robots, including existing software, programs and products that have been developed for the Rubik’s Cube specifically. The folio includes testing and diagnostics, risk assessment, materials, tools and production processes, and final recommendations and conclusion.

Magnus Effect Wind Turbine is a VCE Systems Engineering student work by Jeremy Gray from Scotch College, Melbourne, Wurundjeri Country.

The turbine is a scale model to demonstrate the merits of using a similar system on a larger scale.

Atop a 1 metre high vertical stand sits a gloss green turbine with two cylindrical arms or flaps with rotor blades that has a head housing electronic motors, bearings, potentiometers and gears that can autonomously adjust the turbine to turn towards differing wind directions, and with sensors can detect wind speed and direction, and through battery-powered microprocessors is able to vary the lift to drag ratio of the rotors to adjust the efficiency of the blades.

When the arms are on the vertical axis the turbines height is 1750 millimetres tall, and 1300 millimetres wide, and the head’s depth at top is 600 millimetres deep, weighing approximately 8 to 12 kilograms.

The materials used as listed on the exhibitor label include: Arduino Uno, Adafruit Motorshield V2, DC motors, servo motors, bearings, gears, LCD screen, alkaline batteries, 3D printed PLA components, Aluminium tube, slip rings, stepper motor, and steel frame.

The Magnus Effect Wind Turbine is called as such for it occurs when a rotating object experiences lift force perpendicular to the direction of its motion and is harnessed to generate electrical power, and unlike traditional wind turbines allows for greater control, can be turned and start spinning quickly and can be easily manufactured.

Using an Arduino Uno microcontroller to interpret wind direction and speed inputs to adjust the torque spinning the turbine, the 3D printed system gives a lot more control to the operator over how much lift is generated and allows the turbine to function in a wider variety of wind conditions such as in urban environments.

The head of the turbine has a wind vane on its tail end, a circular on /off toggle switch on its side and another dial labelled ‘rotors’ above a rectangular LCD display screen in landscape orientation.

How the Magnus Effect Wind Turbine works? The turbine head spins towards the wind direction using the mounted stepper motor. As the wind flows perpendicularly to the spinning magnus rotors, a magnus force pulls the turbine into a clockwise direction because of the pressure difference between each side of each rotor. The negative pressure from the magnus effect continues to spin the turbine as long as the magnus rotors continue spinning.

The Magnus Effect Turbine design folio is 90 pages long and provides detailed information about its research and development, diagrams, charts, component lists, production plans, risk assessments, evaluations, recommendations and conclusion.

Automatic Card Sorter is a VCE Systems Engineering student work by Haisong Qi from North Geelong Secondary College, North Geelong, Wadawurrung country.

This freestanding desktop automatic card sorter whose purpose is to automatically and systematically sort a deck of playing cards into the correct order and orientation is made up of a Graphical User Interface, a microcontroller and three subsystems- card dispensing, card recognition and card sorting and is housed in an outer casing made of transparent acrylic. It is 681 millimetres high, 706 millimetres wide and 273 millimetres deep, and weighs 10 kilograms.

The materials used as listed on the exhibitor label include: Raspberry PI 48, SparkFun RedBoard Plus, touchscreen, MCP3008, ADC, magnet, TLV4930 magnetometer, L298N motor driver, S13V30F5 voltage regulator, relay, BC457 transistor, resistor, LED, laser diode, DC motor, serva motor, stepper motor, stepper driver, 18650 battery, GT2 timing, belt, 2020 aluminium extrusion, T-nut, bearing, smooth rod, PLA, ABS, Plywood, and Acrylic.

Through an evaluation of design options the criterion describes the product must be produced before August 31st, 2023, must cost $1000 Australian dollars or less, sort a deck in under 10 minutes, with high accuracy, without jamming or damaging cards, all the while being able to reject duplicate cards or any cards that do not belong to the deck, have a power consumption of less than 100 Watts, operate quietly, be easy to interact with, and easily maintained and cleaned.

The frame of the casing is made up of H and C shaped and 3-way connector aluminium extrusions that join and secure panel walls and corners together; and internally, other extrusions provide additional scaffolding for various plates, brackets and holders for bearings, lasers, stepper motor and camera to be attached from within. Although the automatic card sorter is not powered on during the exhibition, it can run on rechargeable Lithium-ion batteries.

The GUI, Graphical User Interface, is a touchscreen device propped on an outer facing where the user is able to start and stop the sorting process by clicking on buttons. Errors and instructions during the sorting process will appear here for the user to review.

The microcontroller is the central and important piece of this device. It communicates with both the GUI and three subsystems, sending commands for the correct order and timing for a deck of cards to be sorted successfully and is able to communicate to the sensors, based on data collected; and also drives the motors and host of software that handles card recognition.

The machine components comprising of the card dispenser, sorting drum, card holder; plus motor casings, mounting plates, and 45 degree sloping slide and gates have all been 3D printed and have a complex network of wires, terminals, motors, switches and circuits, lasers, LED lights and small camera.

The card-sorting process- Playing cards are placed to be dispensed through the first subsystem one at a time through using a friction feed. As each card is fed into subsystem 2- at the centre of the box- they are lit via a small band of LED lights for a tiny camera to capture an image of each card for the system to recognise and orient the correct way to then move along to the third subsystem to be sorted into correct order.

The cards land within the 60 slot sorting drum in the order defined by the program. Through a pulley belt mechanism, the sorting drum rotates, and with sensors and data commanding when gates open for the card to slide down the 45 degree slope with its own gravity and smooth surface, the card lands in a tray at the bottom right hand corner where an opening wide enough for a hand to reach in can collect the sorted cards as they exit the system.

The student’s design manual is 230 pages long and provides extensive details and information about the automatic card sorter’s research and development, diagnostics and calculations, materials, tools and production process, modifications undertaken and final evaluation, report and conclusion.