Design Grade 12 P2 Eastern Cape Mock 2016 QP (Eng)

NATIONAL SENIOR CERTIFICATE GRADE 12 SEPTEMBER 2016 TAKE NOTE: This examination booklet must reach all schools two weeks before the end of TERM 2: WEEK 23 (06–10 JUNE 2016) DESIGN P2 (PRACTICAL) MARKS: 100 TIME: TOPIC 1: VISUAL JOURNAL/SOURCEBOOK – Preparation starts one week before the end of TERM 2, the June/July holiday and during TERM 3. TOPIC 2: FINAL PRODUCT – Supervised production time of 12–24 hours towards the end of TERM 3. This question paper consists of 18 pages. This question paper must be printed in full colour.

2 DESIGN P2 (EC/SEPTEMBER 2016) INSTRUCTIONS TO THE TEACHER AND LEARNER 1. This practical paper should be given to the learners TWO WEEKS BEFORE THE END OF TERM 2 so that they may receive guidance with regard to their brief/theme selection and can start with TOPIC 1 during the June/July school holiday. 2. This practical examination paper MUST BE DONE AS THE THIRD TERM PRACTICAL ASSESSMENT TASK (PAT 3). It is recommended that teachers request their school to schedule 12–24 hours over a number of days BEFORE OR DURING the Trial examination for completion of TOPIC 2 (FINAL PRODUCT) to familiarise learners with timed and controlled practical examination conditions. 3. TIME ALLOCATION TOPIC 1: VISUAL JOURNAL/SOURCEBOOK Practical process/preparation during the June/July school holiday and at school during TERM 3. TOPIC 2: FINAL PRODUCT Practical product done only at school during TERM 3 for an estimated 24 hours (at least 12 hours but no longer than 24 hours) and only once TOPIC 1 has been completed. 4. This practical examination consists of ONE paper with two optional briefs/themes. Learners must choose ONE of the two briefs/themes. It is required that learner complies with the following TWO parts of this question paper: x The examination visual journal/sourcebook (TOPIC 1) [50 marks] x The examination final product (TOPIC 2) [50 marks] TOTAL: 100 MARKS 5. The learner should choose ONE of the following design categories: x Visual Communication/Information Design and Digital Design x Surface Design and Two-dimensional Craft Design x Product Design and Three-dimensional Craft Design x Environmental Design Copyright reserved Please turn over

(EC/SEPTEMBER 2016) DESIGN P2 3 REVISED 2016 GUIDELINES (INSTRUCTIONS TO THE TEACHER and LEARNER) The rubric attached to this brief is the suggested marking rubric that all teachers and learners must make use of for the marking of TOPIC 1 and TOPIC 2 to ensure standardisation with regard to marking across schools in the Eastern Cape Province. This must be pasted in at the end of TOPIC 1 process work in the visual journal/sourcebook. TOPIC 1: PROCESS [50] 1.1 As an educator, you can guide the learners in their choice of subject matter and techniques used in TOPIC 1. This must be professionally presented in a visual journal/sourcebook (A3 format suggested). 1.2 The chosen examination brief’s (BRIEF 1 or BRIEF 2) COVER PAGE ONLY must be cut out and pasted into the examination visual journal/sourcebook at the start. 1.3 The learner must clearly indicate his/her intentions/rationale/concept through brainstorming, thumbnail sketches or a written essay (rationale). 1.4 It is suggested that all reference material have accompanying notes/annotations to develop, through writings, the learner’s intention. 1.5 Encourage learners to explore as many different interpretations as they research the theme in the form of life-drawing, original (own) photography, images from magazines and newspapers, found objects etc. These can be creatively presented/displayed and by doing so acknowledging the value of layout and design within the visual journal/sourcebook (presentation). 1.6 Their visual journal/sourcebook must show evidence of preparatory sketches, annotated drawings and research based on their various sources. It is important that they personalise these sources by drawing them and creating original designs. 1.7 Direct copying of an image or design that is not the learner’s own will be heavily penalised. This is plagiarism and is unacceptable. The utmost importance is placed on the process of transformation of the reference/source material. 1.8 Drawing, as the basis of all design at school level, will be heavily weighted as a contributing factor in the visual journal/sourcebook. Learners must explore a variety of developmental drawings (compositional roughs) as well as show technical ability through good solid tonal drawing(s). Copyright reserved Please turn over

4 DESIGN P2 (EC/SEPTEMBER 2016) 1.9 A ‘final’ A3 tonal drawing is not a pre-requisite, but may support a learner’s drawing program if drawing throughout the journal is of a weak standard. 1.10 The developmental process from start to a completed final mock-up in the visual journal/sourcebook must be evident. No steps must be ‘skipped’. There must be a clear documented journey. 1.11 As TOPIC 1 (Process) has the same weighting as TOPIC 2 (Final Product), learners should be made aware of this and spend enough time on both, to acknowledge the importance of both. 1.12 IMPORTANT FOR 2016: It is required that all learners show design in context. This is the recommended direction the subject must follow. This step involves presenting the final product in a ‘real’ space/environment within which it can function. This can be shown within the visual journal/sourcebook through drawing/collage/photography/digital manipulation or as an integrated addition the final product. Suggestions include placing products within a mock-interior setting; an exterior environment; on a garment/object (clothing, furniture, linen, etc.) or interacting with a human (hand-held, etc.). GUIDELINES FOR THREE-DIMENSIONAL MAQUETTES/PROTOTYPES 1.13 If a drawing of a three-dimensional design is presented, orthographic diagrams (front view, top view, side view) as well as a three-dimensional drawing must be presented. Measurements to indicate scale and assembly instructions must accompany these. 1.14 Learners must clarify their choice of construction material(wood, metal, plastic, ilala-palm, wire, paper, etc.) for their final product and explain how the properties of the chosen material (strength, hardness, toughness, flexibility, corrosion resistance, waterproofing, etc.) supports and enhances the functionality of the product. Copyright reserved Please turn over

(EC/SEPTEMBER 2016) DESIGN P2 5 REVISED 2016 GUIDELINES (INSTRUCTIONS TO THE TEACHER AND LEARNER) TOPIC 2: FINAL PRODUCT [50] 2.1 All TOPIC 1 process work must be completed before the commencement of TOPIC 2. The teacher must limit assistance with the candidate during the final production of the design (TOPIC 2) and encourage learners to make their own decisions regarding their final processes. 2.2 Topic 2 must show evidence of least 12–24 hours’ work. The teacher must ensure that the output/production of TOPIC 2 is equivalent to the time allocated for completion. Time management is essential. 2.3 TOPIC 2 work may NOT be done at home and may NOT leave the classroom venue. Time allocation by the teacher and time management by the learner in this regard must be applied and managed. 2.4 Learners must demonstrate an advanced degree of technical skill in the use of a range of materials and techniques chosen. It is therefore advisable that learners produce a design in the design discipline that they have studied. 2.5 A final two-dimensional product MUST NOT be smaller than A3 in size or a relative body of work that amounts to A3 size output (e.g. 2 x A4). The size of a three-dimensional design will depend on the function of the object being made. 2.6 Designs must reflect context. Refer to No. 1.12 of TOPIC 1. 2.7 Learners’ final products in digital format need to have sufficient hand- rendered input. Original drawings/collages must be scanned or photographed for this purpose. Original designs must be present at the year-end exhibition. 2.8 Any two- or three-dimensional craft design based merely on craft processes like decoupage, etc. for decorative purposes will NOT be accepted. Craft processes must be used to create an original product. Products must show sufficient skill in technique/method. Learners must show, through their final product, a progression of skills development from Grade 10–12. Copyright reserved Please turn over

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(EC/SEPTEMBER 2016) DESIGN P2 7 REVISED 2016: MARKING RUBRIC/GUIDELINES: --------------------------------------------------------- PAT 3 – GRADE 12 (SEPTEMBER P2 PRACTICAL) TOPIC 1: PROCESS (VISUAL JOURNAL/SOURCEBOOK) CRITERIA Expression of intention and rationale: (Concepts/Creativity) Thought processes; Pushing the boundaries of design; Critical and 10 analytical thinking, Idea generation Evidence of research: Experimentation and exploration of 10 source/inspirational material; Investigation Technical ability: Skills. Execution, experimentation and exploration of 10 media. Evidence of detailed planning and presentation: Showing all the steps and planning towards a final design from the start, to a completed final 20 mock-up; Problem solving TOTAL: % 50 TOPIC 2: FINAL PRODUCT CRITERIA Creativity/Originality/Interpretation in terms of the concept, function and solutions that are relevant to the brief. Does it communicate 20 effectively? Is the product successful/marketable/contemporary/relevant/smart/on trend? Evidence of design involvement: Interpretation and appropriate use of 10 the chosen design elements and principles. Technique and craftsmanship: Method/Making; Competence in chosen 10 materials and techniques Professional presentation and time management (12–24 hours) Is it complete? Is it neat? Are there still areas that need work? Does it 10 looked rushed and untidy? TOTAL: % 50 Copyright reserved Please turn over

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(EC/SEPTEMBER 2016) DESIGN P2 9 BRIEF/THEME 1 GREEK AND ROMAN ARCHITECTURE (LINK to TERM 3 –TOPIC 3) Logic and order are at the heart of Greek architecture. The Greeks planned their temples according to a coded scheme of parts, based first on function, then on a reasoned system of sculptural decoration. Mathematics determined the symmetry and the harmony. Their architecture presented us with a concrete illustration of moral and spiritual truth. The solid foundation platform, the down-pressing mass of the architrave, frieze, and roof-structure, counteracting the powerful sense of lift from the columns, the serenity of the colonnade, modified by the energy of the sculptured frieze and pediment. This is the philosophical meaning of Greek architecture, which has entranced architects around the world for more than two thousand years. Roman architects aimed to demonstrate the grandeur and power of Rome. They mastered important architectural techniques, including the arch, the dome and the vault, as well as the use of concrete. Using these methods, Roman engineers designed and built some of the greatest public buildings in the history of architecture, including temples, basilicas, amphitheatres, triumphal arches and public baths. In addition, architects designed numerous aqueducts, drainage systems, and bridges, as well as a vast network of roads, while planners developed a series of urban blueprints, based on army camps, to help create new towns from scratch. Both Greek and Roman architecture had a significant influence on architectural styles through the ages. These two periods became known as the Classical Period – which means they became ideal or timeless styles. YOUR TASK Create a design that borrows influences from Greek and Roman architecture. Be inspired by the principles, philosophy and aesthetic characteristics. Explore their use of building methods and materials. Be inspired by their architectural ornament and decoration. Develop a solution that expresses a design in a modern context. Copyright reserved Please turn over

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12 DESIGN P2 (EC/SEPTEMBER 2016) Tiffany’s Atlas Jewellery collection (above) The meander motif took its name from the river Meander, a river with Designs inspired by and many twists. The motif is also known as a Greek key or Greek fret. incorporating ancient Roman Meander was the most important symbol in Ancient Greece, symbolising numerals and symbols inscribed into infinity or the eternal flow of things. Many temples and objects were the Architrave of Greek and Roman decorated with this motif. temples. Roman stilettos inspired by Chair and stool designs consisting of Black wooden chair from Fornasetti iconic Roman architecture ionic columns broken down into three featuring a contrasting grey ancient and gladiator style sandals. pieces by Studio 65. Greek column design as the back rest. 12 Stylised and simplified illustrations of the Entablature which includes the The houses of Parliament in Cape pediment, cornice, frieze and architrave. Town built in the in the neo-Classical style of architecture, has its origins in Greek and Roman architecture. LEAVE THIS PAGE BLANK Copyright reserved Please turn over

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14 DESIGN P2 (EC/SEPTEMBER 2016) BRIEF/THEME 2 THE OLYMPIC SPIRIT A BRIEF HISTORY The Olympic Games, which originated in ancient Greece was revived in the late 19thcentury and has become the world’s leading sporting competition. The Games were a direct outgrowth of the values and beliefs of Greek society. The Greeks idealised physical fitness and mental discipline, and they believed that excellence in those areas honoured Zeus, the greatest of all their gods. From the 8th century B.C. to the 4th century A.D., the Games were held every four years in Olympia, Greece. Women were neither allowed to compete in the games nor to watch them, because the games were dedicated to Zeus and were therefore only meant for men. The first modern Olympics took place in 1896 in Athens, and featured 280 participants from 13 nations, competing in 43 events. Since 1994, the Summer and Winter Olympic Games have been held separately and have alternated every two years. THE OLYMPIC RINGS These five multi-coloured Olympic rings represent the five continents. The interlocking of the rings is symbolic in showing that the Olympic Games are intended for all nations to be able to come and compete against one another in unity. YOUR TASK Create a design that embodies the ethos of the Olympic Games. Copyright reserved Please turn over

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16 DESIGN P2 (EC/SEPTEMBER 2016) THE RIO OLYMPIC GAMES 2016 The 2016 Summer Olympics will take place in Rio de Janeiro, Brazil, from 5–21 August 2016. More than 10 500 athletes from 206 National Olympic Committees will take part in this sporting event. The games will feature 28 sports, including rugby sevens and golf, which were added by the International Olympic Committee in 2009. These sporting events will take place across 33 venues spread across four regions of the city. Rio will become the first South American city to host the Summer Olympics, and the first since 2000 to be held in the Southern Hemisphere. The Rio 2016 Olympic Logo appears on all branding which Sport pictograms are graphic includes branded luggage, clothing and memorabilia such as icons facilitating the visual watches and mugs. identification of each sport and are a Games tradition. The 2016 Rio Olympic Emblem is meant to embody the cariocas, The Rio Games have 64 or Brazilian locals. The people embracing each other in the pictograms – 41 Olympic and 23 emblem are meant to be welcoming and friendly, while the Paralympic. silhouette of the embrace is meant to outline Sugarloaf Mountain. The people not only outline the mountain, but are meant to To learn more about the creative ‘embrace the city’. The shapes of the body also spell out the word process of pictograms visit: ‘Rio’. https://youtu.be/sxkrS0LCegE THE PARALYMPICS The Paralympic Torch’s sinuous The feet of Matt Stutzman of the To satisfy the demands of elite curves represent the highs and United States holds his bow with athletes, significant new technological lows in the life of a Paralympic technology specially created for the developments in wheelchair design athlete. Its quadrangular shape sport. and prostheses have occurred, refers to the four Paralympic values demonstrated by radical equipment – courage, determination, designs such as seated throwing inspiration and equality – which are chairs, racing wheelchairs, and also written in Braille on the torch. running prosthesis. Copyright reserved Please turn over

(EC/SEPTEMBER 2016) DESIGN P2 17 SOUTH AFRICA’S OLYMPIC HISTORY South Africa first participated at the Olympic Games in 1904, and sent athletes to compete in every Summer Olympic Games until 1960. After the passage of United Nations General Assembly Resolution 1761 in 1962 in response to South Africa's policy of apartheid, the nation was barred from the Games. After the negotiations to end apartheid in South Africa commenced in 1990, the nation re-joined the Olympic movement in 1992. OUR OLYMPIC HEROES South African athletes have won a total of 76 medals, with athletics, boxing, and swimming as the top medal-producing sports. The most recent medal won was a silver medal by Caster Semenya at the 2012 London Olympics. Chad le Clos won gold in the 200- Caster Semenya won silver Roland Mark Schoeman was a metre butterfly and silver in the medals at the 2012 London member of the South African swim 100-metre butterfly in the 2012 Summer Olympics in the 800 team at the 2000 Olympic Games, Olympics in London. He also won metres. 2004 Olympic Games, 2008 Olympic five medals at the 2010 Summer Games, and the 2012 Olympic Games. Youth Olympics in Singapore. Natalie du Toit is best known for the gold medals The South African Gold medalist team of Roland she won at the 2004 and 2014 Paralympic Games. Schoeman, Lyndon Ferns, Darian Townsend, and Ryk Neethling set a new world record of 3:13.67 in men's 4 x 100 metre freestyle relay in the Athens 2004 Olympic games. Copyright reserved Please turn over

18 DESIGN P2 (EC/SEPTEMBER 2016) SPORTING EVENTS The events in the Summer Olympics include: archery, badminton, baseball, basketball, boxing, canoeing, cycling, diving, equestrian, fencing, soccer, gymnastics, handball, hockey, judo, kayaking, marathon, pentathlon, ping pong, rowing, sailing, shooting, swimming, taekwondo, tennis, track and field (running, jumping, and throwing events), triathlon, volleyball, water polo, weightlifting and wrestling. Winter Olympic events include: ice hockey, figure skating, speed skating, snowboarding, luge, bobsleigh, skeleton (a type of sledding), curling, cross-country skiing, freestyle skiing, slalom, downhill (Alpine) skiing, freestyle skiing, ski jumping, Nordic combined (skiing plus ski jumping), and biathlon (skiing and shooting). The Maracanã Stadium in Rio de Janeiro, For the 2020 Tokyo The Tokyo 2020 Brazil, was built specially for the 1950 Olympic Games, the graphic Paralympic emblem is World Cup and demonstrates even today designer used blocks of grey based on the equals sign, impressive architectural features, such as and gold to create the shape but with two thick lines the 4 great access ramps, allowing at of a T, which is used to stand arranged vertically rather least 100,000 people to leave the stadium for Tokyo, Tomorrow and than horizontally. in 30 minutes. The planned upgrading of Team. These bands are formed the stadium for the 2016 Olympic Games Sano, founder of Tokyo from the negative space will turn it into one of the most modern studio ‘Mr Design’ designed around the stem of the T stadiums in the world. both logos to incorporate the in the Olympics logo. It red circle found in the centre features the silver and of the Japanese flag. gold corners, and the red dot, in identical locations. TOTAL: 100 Copyright reserved Please turn over