# Design Grade 12 P1 Eastern Cape Mock 2013 QP (Eng) > Grade 12 Design Paper 1 question paper from the Eastern Cape Mock Exam 2013 (English), 34 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dsgn-p1-qp-eng-sep-2013/b416e8f1-733b-4ef8-8c6d-b2343a578b31 - Updated: 2026-09-27 - Subject: Design - Grade: Grade 12 - Document type: Question paper - Year: 2013 - Exam period: Eastern Cape Mock Exam - Paper: 1 - Curriculum: CAPS - Pages: 34 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Design](https://www.hlayiso.com/library/grade-12/design) › [Design Grade 12 P1 Eastern Cape Mock 2013 QP (Eng)](https://www.hlayiso.com/library/dsgn-p1-qp-eng-sep-2013/b416e8f1-733b-4ef8-8c6d-b2343a578b31) ## About this document Design · Grade 12 · Eastern Cape Mock Exam · 2013. Question paper, 34 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com Province of the EASTERN CAPE EDUCATION NATIONAL SENIOR CERTIFICATE GRADE 12 SEPTEMBER 2013 DESIGN P1 MARKS: 150 TIME: 3 hours *DSGNDM1* This question paper consists of 17 pages. ### Page 2 Downloaded from hlayiso.com 2 DESIGN P1 (SEPTEMBER 2013) INSTRUCTIONS AND INFORMATION 1. This question paper consists of SEVEN questions. 2. There are optional questions, therefore the instructions at every question must be read carefully. 3. This question paper consists of THREE sections. SECTION A: Design literacy [80 marks] QUESTIONS 1 – 4 SECTION B: Design in a social/environmental context [40 marks] QUESTION 5 and QUESTION 6 SECTION C: Design in a business context [30 marks] QUESTION 7 4. Read the requirements of the questions carefully. 5. Answer each question in full and avoid the mere listing of facts. 6. Use the mark allocation to determine the amount of time to be spent on the question as well as the number of facts required. 7. Do not repeat the same facts and examples in different questions. 8. Write neatly and legibly. GLOSSARY Use the following glossary to make sure you understand how to approach a particular question: Analyse: A detailed and logical discussion of the formal elements and principles. Compare: Point out differences and similarities in an ordered sequence within the same argument. Discuss: Present your point of view and give reasons for your statements (motivate). Explain: Clarify and give reasons for your statements (motivate). Interpret: Give an informed opinion, supported by examples. State: Say directly what you think – give your opinion as well as an explanation. ### Page 3 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 3 SECTION A: DESIGN LITERACY QUESTION 1: ‘UNSEEN’ DESIGNS TESTING VISUAL LITERACY 1.1 FIGURE A: ‘Kudu Trophy’ by Magda van der Vloed, South Africa. Wire and crocheted, recycled plastic bags, 2012. 1.1.1 Do you consider the design in FIGURE A above to be ‘kitsch’ or not? Explain your answer. (2) 1.1.2 FIGURE A is not only a decorative object but also has symbolic value. Briefly discuss ONE symbol that is expressed by this work. (2) 1.1.3 Analyse the use of the following THREE design elements and principles in the above design:  Pattern  Line  Contrast (6) ### Page 4 Downloaded from hlayiso.com 4 DESIGN P1 (SEPTEMBER 2013) 1.2 FIGURE B: ‘Accidental Carpet’ by FIGURE C: Detail of ‘Accidental Carpet’ Droog Design, Netherlands, 2008. Analyse the above design referring to the following terms:  Innovation and originality (1)  Functionality (2)  Line (2)  Colour (2)  Rhythm (2)  Possible inspiration/influence (1) [20] ### Page 5 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 5 QUESTION 2 2.1 Pay careful attention to the images below and answer the questions that follow. FIGURE A FIGURE B 2.1.1 Explain the meaning of ‘Stereotyping’ in the context of Design and also the possible effects on society when it is used in advertising. (4) 2.1.2 Does either of the above images (FIGURE A and FIGURE B) represent examples of stereotyping? Explain by comparing the two images. (4) ### Page 6 Downloaded from hlayiso.com 6 DESIGN P1 (SEPTEMBER 2013) 2.2 Study the designs below and then answer the question that follows. FIGURE C 2.2.1 Why do you think the head of Nelson Mandela and a lion have been included in the design of the new fifty rand note featured in FIGURE C above? (2) [10] ### Page 7 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 7 QUESTION 3 FIGURE A: Bath by Nkensani Nkosi, FIGURE B: Bath designed in the (South Africa, 2011) Victorian style (England, 1837 – 1912). 3.1 Compare (point out the similarities and differences) the above two designs (FIGURE A and FIGURE B) under the following headings:  Balance (2)  ‘Form follows function’ (4)  Possible influences (4) 3.2 For a contemporary design to be ‘Proudly South African’ it has to reflect our culture or environment in some way. Write about the work of ONE designer or design group that falls into this category. Your answer must include the following information:  Name of the designer or design group (1)  Local/global influences and inspiration (2)  General characteristics (4)  Name and a brief analysis of at least ONE design (3) [20] ### Page 8 Downloaded from hlayiso.com 8 DESIGN P1 (SEPTEMBER 2013) QUESTION 4 4.1 FIGURE A The above images represent some of the design movements that you have studied. Study them carefully and then answer the question that follows. ### Page 9 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 9 4.1.1 The following comment by Tonya Lee underlines the importance of understanding design movements of the past in order to appreciate design today: ‘Contemporary design has borrowed a few elements from Modernism and Postmodernism, but (it) has also gathered ideas from many other styles such as Art Deco, Deconstructivism, Futurism and more.’ (About.com). With this in mind, choose TWO styles from design history from the list below:  The Arts and Crafts Movement (1850 – 1900)  Art Nouveau (1890 – 1905)  Modernism, (‘the Age of Streamlining’). (1935 – 1955)  Art Deco (1925 – 1939)  Bauhaus (1919 – 1933) THEN Write the names of the TWO movements that you have chosen and write a full discussion of each under the following headings:  Aims (2)  Influences on the style (2)  Characteristics of the style (3)  The name of ONE designer associated with the movement and an analysis of ONE of his/her designs (3) (2 x 10) (20) ### Page 10 Downloaded from hlayiso.com 10 DESIGN P1 (SEPTEMBER 2013) 4.2 FIGURE B: Pop Era/Age of FIGURE C: Post Modernism Affluence 4.2.1 Do you think that it can be argued that FIGURE B is more representative of the movement to which it belongs than FIGURE C? Write your answer as a written discussion and include the following information: (Table form is not allowed)  The differences and similarities between the two movements that inspired the designs  The relevant influences and stylistic characteristics of the movements that are reflected in each design (8) 4.2.2 Name ONE designer from either of the two movements and the title of ONE design by that person. (Do not mention the designs shown in QUESTION 4). (2) [30] TOTAL SECTION A: 80 ### Page 11 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 11 SECTION B: DESIGN IN A SOCIAL/ENVIRONMENTAL CONTEXT QUESTION 5 5.1 5.1.1 Many LOCAL designers/design groups use design to create an awareness of, or to help solve social problems such as poverty, unemployment, crime and prejudice. Discuss the work of ONE such local designer/design group by referring to the following:  The name of the designer/design group  A brief explanation of the designer/design group’s aims and design procedures  Point out how their work addresses social issues or concerns (7) 5.1.2 Study the following poster carefully and then answer the question that follows. FIGURE A: ‘One in five South Africans will dine out tonight’, street-pole poster campaign created for Operation Hunger by Joe Public, 2006 Explain what the message is of the above poster (FIGURE A) and how the composition and choice of type and images help to convey this. (3) ### Page 12 Downloaded from hlayiso.com 12 DESIGN P1 (SEPTEMBER 2013) 5.2 Study the design below and answer the question that follows. FIGURE B 5.2.1 The above design (FIGURE B) is a good example of social design. Which sector of our society will benefit from this design? Explain your answer. (2) 5.3 Discuss the work of ONE INTERNATIONAL designer whose work is aimed at addressing social concerns in some way. Refer to the following:  Aims  General characteristics  The name and brief description of ONE work that addresses social issues (8) [20] ### Page 13 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 13 QUESTION 6 THERE ARE 3 QUESTIONS (6.1, 6.2 AND 6.3). ANSWER ANY TWO. (10 marks each x 2 = 20 marks) DO NOT REPEAT INFORMATION IN ANY OF THESE QUESTIONS. 6.1 FIGURE A 6.1.1 Sustainable design is one way that designers can contribute to the prevention of global warming. Mention TWO ways that designers can ensure that their designs have minimal impact on the environment. (These must not include the recycling or repurposing of a product). (2) 6.1.2 Discuss the work of ONE South African designer who designs in an environmentally conscious way. Write the information under the following headings:  The name of the designer (1)  His/her aims (1)  The influences on his/her work (2)  The name and a brief analysis of ONE of his/her product designs, including specific reference to the way the design addresses environmental issues (4) ### Page 14 Downloaded from hlayiso.com 14 DESIGN P1 (SEPTEMBER 2013) AND 6.2 Study the images below and answer the questions that follow. FIGURE B FIGURE C 6.2.1 Show your understanding of the terms, ‘Recycle’ and ‘Repurpose’ by identifying which categories each of the above designs, (FIGURE B and FIGURE C), belong to. Give reasons. (2) 6.2.2 Discuss the work of ONE INTERNATIONAL designer who focuses on environmental issues, by restoring or reshaping the interior or exterior environment of the world around them in an environmentally friendly way. Your discussion must include at least ONE example of the designer’s work. (8) AND/OR ### Page 15 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 15 6.3 FIGURE D: Poster for World Environment Day, (the 5th of June) 6.3.1 Study the text and image very carefully and then explain the meaning of the message in FIGURE D above. (1) 6.3.2 Show ONE way that designers can respond positively to the message in the above poster. (1) 6.3.3 Contemporary designers are becoming very aware of the importance of ‘green design’ as seen in FIGURE D above. Discuss the work of ONE LOCAL OR ONE INTERNATIONAL designer whose work can be considered green, referring to at least ONE design by this designer to illustrate your statements. (DO NOT REPEAT INFORMATION OR DESIGNERS THAT YOU MIGHT HAVE USED IN QUESTIONS 6.1 OR 6.2). (8) (10 + 10) [20] TOTAL SECTION B: 40 ### Page 16 Downloaded from hlayiso.com 16 DESIGN P1 (SEPTEMBER 2013) SECTION C: DESIGN IN A BUSINESS CONTEXT QUESTION 7 7.1 FIGURE A: Section of shop interior and window display, Suzaan Heynes fashion store, Melrose Arch, Johannesburg, 2012. ### Page 17 Downloaded from hlayiso.com (SEPTEMBER 2013) DESIGN P1 17 7.1 Study the images in (FIGURE A) on the previous page and then answer the questions that follow. 7.1.1 Describe a possible target market for the products illustrated in FIGURE A. Supply TWO reasons for your answer. (3) 7.1.2 Analyse the shop interior in the top image of FIGURE A according to the following:  Colour (2)  Use of space (2) 7.1.3 Give the following information:  FIVE characteristics of effective shop displays. (5) 7.1.4 What type of packaging would you recommend for the Suzaan Heynes fashion store in FIGURE A? Motivate your answer. (2) 7.2 7.2.1 Name the design discipline that you are studying, for example textiles, ceramics or graphic design, and then supply the following information:  The name of TWO tertiary institutions where you would be able to study your particular discipline (2)  FOUR possible career options available to you once you have finished studying (4) 7.3 FIGURE B 7.3.1 Provide a SWOT analysis of the design in FIGURE B above, to show whether or not it would be a suitable product for the South African market. (Note: Marks are not allocated to the identification of the individual letters of the anagram – SWOT). (10) TOTAL SECTION C: 30 GRAND TOTAL: 150 ### Page 18 (SEPTEMBER 2013) ONTWERP V1 17 7.1 Bestudeer die uitbeeldings in (FIGUUR A) op die vorige bladsy en beantwoord dan die vrae wat volg. 7.1.1 Beskryf ʼn moontlike teikenmark vir die produkte wat in FIGUUR A hierbo uitgebeeld word. Verskaf TWEE redes vir jou antwoord. (3) 7.1.2 Analiseer die winkel-interieur uitgebeeld in die boonste gedeelte van FIGUUR A volgens die volgende:  Kleur (2)  Gebruik van spasie/ruimte (2) 7.1.3 Gee die volgende inligting:  VYF eienskappe van effektiewe winkel vertoning. (5) 7.1.4 Watter tipe verpakking sal jy vir die Suzaan Heynes modewinkel in FIGUUR A aanbeveel? Motiveer jou antwoord. (2) 7.2 7.2.1 Noem die ontwerp dissipline wat jy bestudeer, bv. tekstiel, keramiek of grafiese ontwerp, en verskaf dan die volgende inligting:  Die naam van TWEE tersiêre inrigtings waar jy jou spesifieke dissipline kan studeer (2)  VIER moontlike loopbane wat jy kan volg nadat jy jou studies voltooi het (4) 7.3 FIGUUR B 7.3.1 Gee ʼn SWOT analise vir die ontwerp in FIGUUR B hierbo en toon aan of dit ʼn geskikte produk vir die Suid-Afrikaanse mark sal wees. (Let Wel: Punte word nie toegeken vir die identifikasie van die individuele letters van die SWOT-anagram nie.) (10) TOTAAL AFDELING C: 30 GROOTTOTAAL: 150 Downloaded from hlayiso.com ### Page 19 16 ONTWERP V1 (SEPTEMBER 2013) AFDELING C: ONTWERP IN ’N BESIGHEIDSKONTEKS VRAAG 7 7.1 FIGUUR A: Gedeelte van ʼn winkel-interieur en vertoonvenster, Suzaan Heynes modewinkel, Melrose Arch, Johannesburg, 2012. Downloaded from hlayiso.com ### Page 20 (SEPTEMBER 2013) ONTWERP V1 15 6.3 FIGUUR D: Plakkaat vir Wêreld Omgewingsdag, (die 5de Junie) 6.3.1 Bestudeer die teks en die beeld baie noukeuring en verduidelik dan die betekenis van die boodskap in FIGUUR D hierbo. (1) 6.3.2 Wys EEN manier hoe ontwerpers positief op die boodskap in die bostaande plakkaat kan reageer. (1) 6.3.3 Kontemporêre ontwerpers raak baie meer bewus van die belangrikheid van ‘groen ontwerp’ soos in FIGUUR D hierbo gesien. Bespreek die werk van EEN PLAASLIKE OF EEN INTERNASIONALE ontwerper wie se werk as ‘groen’ gesien kan word en verwys ook na EEN ontwerp deur die ontwerper om jou stelling te illustreer. (MOENIE INLIGTING OF ONTWERPERS HERHAAL WAT JY DALK IN VRAAG 6.1 OF VRAAG 6.2 GEBRUIK HET NIE.) (8) (10 + 10) [20] TOTAAL AFDELING B: 40 Downloaded from hlayiso.com ### Page 21 14 ONTWERP V1 (SEPTEMBER 2013) EN 6.2 Bestudeer die uitbeeldings hieronder en beantwoord die vrae wat volg. FIGUUR B FIGUUR C 6.2.1 Wys wat jy onder die terme ‘Herwin’ en ‘Herdoel/hergebruik’ verstaan deur te wys aan watter kategorieë die bostaande ontwerpe (FIGUUR B en FIGUUR C) behoort. Gee redes vir jou antwoord. (2) 6.2.2 Bespreek die werk van EEN INTERNASIONALE ontwerper wat op omgewingskwessies fokus, deur die interieur of eksterieur omgewing om hulle in ʼn omgewingsvriendelike wyse te hervorm of restoureer. Jou bespreking moet ten minste EEN voorbeeld van die ontwerper se werk insluit. (8) EN/OF Downloaded from hlayiso.com ### Page 22 (SEPTEMBER 2013) ONTWERP V1 13 VRAAG 6 DAAR IS 3 VRAE (6.1, 6.2 EN 6.3). BEANTWOORD ENIGE TWEE. (10 punte elk x 2 = 20 punte). MOENIE INLIGTING IN ENIGE VAN HIERDIE VRAE HERHAAL NIE. 6.1 FIGUUR A 6.1.1 Volhoubare ontwerp is een manier waarop ontwerpers kan bydra tot die voorkoming van aardverwarming. Noem TWEE maniere hoe ontwerpers kan verseker dat hulle ontwerpe minimale impak op die omgewing sal hê. (Hierdie antwoord mag nie herwinning of hergebruik van ʼn produk insluit nie.) (2) 6.1.2 Bespreek die werk van EEN Suid-Afrikaner wat op ʼn omgewingsbewuste wyse ontwerp. Skryf die inligting onder die volgende opskrifte:  Die naam van die ontwerper (1)  Sy/haar doelwitte (1)  Die invloede op sy/haar werk (2)  Die naam en ʼn kort analise van EEN van sy/haar ontwerpe en die spesifieke verwysing van die wyse waarop die ontwerp omgewingskwessies aanspreek (4) Downloaded from hlayiso.com ### Page 23 12 ONTWERP V1 (SEPTEMBER 2013) 5.2 Bestudeer die onderstaande ontwerp en beantwoord die vrae wat volg. FIGUUR B 5.2.1 Die bostaande ontwerp (FIGUUR B) is ʼn goeie voorbeeld van sosiale ontwerp. Watter afdeling van die samelewing sal voordeel trek uit hierdie ontwerp? Verduidelik jou antwoord. (2) 5.3 Bespreek die werk van EEN INTERNASIONALE ontwerper wie se werk daarop gefokus is om sosiale kwessies op een of ander manier aan te spreek. Verwys na die volgende:  Doelwitte  Algemene karaktereienskappe  Die naam en kort verduideliking van EEN werk wat sosiale kwessies aanspreek (8) [20] Downloaded from hlayiso.com ### Page 24 (SEPTEMBER 2013) ONTWERP V1 11 AFDELING B: ONTWERP IN ’N SOSIALE/OMGEWINGSKONTEKS VRAAG 5 5.1 5.1.1 Baie PLAASLIKE ontwerpers/ontwerpsgroepe gebruik ontwerp om ʼn bewustheid van sosiale probleme soos armoede, werkloosheid, geweld en vooroordeel te skep. Bespreek die werk van EEN so ʼn plaaslike ontwerper/ontwerpsgroep deur na die volgende te verwys:  Die naam van die ontwerper/ontwerpgroep  Gee ʼn kort verduideliking van die ontwerper/ontwerp-groep se doelwitte en ontwerp prosedures  Lig uit hoe hulle werk sosiale kwessies en kwelpunte aanspreek (7) 5.1.2 Bestudeer die volgende plakkaat noukeurig en beantwoord dan die vrae wat volg. FIGUUR A: ‘One in five South Africans will dine out tonight’, lamppaal-plakkaat veldtog vir Operation Hunger deur Joe Public, 2006 Verduidelik wat die boodskap van die bostaande plakkaat (FIGUUR A) is en hoe die komposisie en die keuse van die tipografie en beelde help om die boodskap oor te dra. (3) Downloaded from hlayiso.com ### Page 25 10 ONTWERP V1 (SEPTEMBER 2013) 4.2 FIGUUR B: Pop Era/Tyd van Oorvloed FIGUUR C: Post Modernisme 4.2.1 Dink jy dit kan geredeneer word dat FIGUUR B ʼn beter voorstel van die beweging waaraan dit behoort as FIGUUR C is? Gee jou antwoord as ʼn geskrewe bespreking en sluit die volgende inligting in: (Tabelvorm word nie toegelaat nie.)  Die verskille en ooreenkomste tussen die twee bewegings wat die ontwerpe inspireer het  Die relevante invloede en die stilistiese karaktereienskappe van die bewegings wat in elke ontwerp uitgebeeld word (8) 4.2.2 Noem EEN ontwerper uit enige van die twee bewegings en EEN ontwerp deur daardie persoon. (Moenie die ontwerpe wat in VRAAG 4 gewys word, noem nie.) (2) [30] TOTAAL AFDELING A: 80 Downloaded from hlayiso.com ### Page 26 (SEPTEMBER 2013) ONTWERP V1 9 4.1.1 Die volgende stelling deur Tonya Lee beklemtoon die belangrikheid daarvan om die ontwerpbewegings uit die verlede te verstaan om sodoende hedendaagse ontwerp te waardeer: ‘Kontemporêre ontwerp het ʼn paar elemente van Modernisme en Postmodernisme geleen, maar dit het ook baie idees van baie ander style soos Art Deco, Dekonstruksionisme, Futurisme en meer, bymekaargemaak.’ (About.com) Met dit in gedagte, kies TWEE style uit die ontwerpsgeskiedenis uit die lys hieronder:  Die Kunsvlytbeweging (1850 – 1900)  Art Nouveau (1890 – 1905)  Modernisme, (‘the Age of Streamlining’) (1935 – 1955)  Art Deco (1925 – 1939)  Bauhaus (1919 – 1933) DAARNA Skryf die name van die TWEE bewegings wat jy gekies het en skryf ʼn volle bespreking van elk onder die volgende opskrifte:  Doelwitte (2)  Invloede op die styl (2)  Karaktereienskappe van die styl (3)  Die naam van EEN ontwerper wat met die beweging geassosieer word en ʼn analise van EEN van sy/haar ontwerpe (3) (2 x 10) (20) Downloaded from hlayiso.com ### Page 27 8 ONTWERP V1 (SEPTEMBER 2013) VRAAG 4 4.1 FIGUUR A Die bostaande uitbeeldings stel sommige van die ontwerpbewegings wat jy bestudeer het, voor. Bestudeer die uitbeeldings noukeurig en beantwoord dan die vrae wat volg. Downloaded from hlayiso.com ### Page 28 (SEPTEMBER 2013) ONTWERP V1 7 VRAAG 3 FIGUUR A: ‘Bad’ deur Nkensani Nkosi, FIGUUR B: Bad ontwerp in die (Suid-Afrika, 2011) Victoriaanse styl (Engeland, 1837 – 1912). 3.1 Vergelyk (wys die ooreenkomste en verskille uit) in die bostaande twee ontwerpe (FIGUUR A en FIGUUR B) onder die volgende opskrifte:  Balans (2)  ‘Vorm volg funksie’ (4)  Moontlike invloede (4) 3.2 Vir ʼn kontemporêre ontwerp om ‘Trots Suid-Afrikaans’ te wees moet dit ons kultuur of omgewing op een of ander wyse weerspieël. Skryf oor die werk van een ontwerper of ontwerp-groep wat in hierdie kategorie val. Jou antwoord moet die volgende insluit:  Naam van die ontwerper of ontwerpgroep (1)  Plaaslike/globale invloede en inspirasie (2)  Algemene karaktereienskappe (4)  Naam en kort analise van ten minste EEN ontwerp (3) [20] Downloaded from hlayiso.com ### Page 29 6 ONTWERP V1 (SEPTEMBER 2013) 2.2 Bestudeer die ontwerpe hieronder en beantwoord dan die vrae wat volg. FIGUUR C 2.2.1 Hoekom dink jy is die gesig van Nelson Mandela en die leeukop in die nuwe ontwerp van die vyftigrandnoot in FIGUUR C hierbo ingesluit? (2) [10] Downloaded from hlayiso.com ### Page 30 (SEPTEMBER 2013) ONTWERP V1 5 VRAAG 2 2.1 Let noukeurig op na die uitbeeldings hieronder en beantwoord die vrae wat volg. FIGUUR A FIGUUR B 2.1.1 Verduidelik die betekenis van ‘Stereotipering’ in die ontwerpkonteks sowel as die moontlike uitwerking wat dit op die samelewing kan hê wanneer dit in advertensies gebruik word. (4) 2.1.2 Stel enige een van die twee bostaande uitbeeldings (FIGUUR A en FIGUUR B) voorbeelde van stereotipering voor? Verduidelik deur die twee uitbeeldings te vergelyk. (4) Downloaded from hlayiso.com ### Page 31 4 ONTWERP V1 (SEPTEMBER 2013) 1.2 FIGUUR B:‘Accidental Carpet’ deur FIGUUR C:Detail van ‘Accidental Carpet’ Droog Design, Nederland, 2008. Analiseer die bostaande ontwerp deur na die volgende terme te verwys:  Innoverendheid en oorspronklikheid (1)  Bruikbaarheid (2)  Lyn (2)  Kleur (2)  Ritme (2)  Moontlike inspirasie/invloede (1) [20] Downloaded from hlayiso.com ### Page 32 (SEPTEMBER 2013) ONTWERP V1 3 AFDELING A: ONTWERPSGELETTERDHEID VRAAG 1: ‘ONGESIENE’ WERKE OM VISUELE GELETTERDHEID TE TOETS 1.1 FIGUUR A: ‘Kudu Trophy’ deur Magda van der Vloed, Suid-Afrika. Draad en gehekelde, herwinde plastieksakke, 2012. 1.1.1 Dink jy die ontwerp in FIGUUR A hierbo is ‘kitsch’ of nie? Verduidelik jou antwoord. (2) 1.1.2 FIGUUR A is nie slegs ʼn dekoratiewe voorwerp nie, maar het ook simboliese waarde. Bespreek kortliks EEN simbool wat deur hierdie ontwerp uitgebeeld word (2) 1.1.3 Analiseer die gebruik van die volgende DRIE ontwerp- elemente en beginsels in bostaande ontwerp:  Patroon  Lyn  Kontras (6) Downloaded from hlayiso.com ### Page 33 2 ONTWERP V1 (SEPTEMBER 2013) INSTRUKSIES EN INLIGTING 1. Daar is SEWE vrae in hierdie vraestel. 2. Daar is keusevrae, lees dus die instruksies by elke vraag noukeurig deur. 3. Die vraestel bestaan uit DRIE afdelings: AFDELING A: Ontwerpgeletterdheid [80 punte] VRAE 1 – 4 AFDELING B: Ontwerp in ʼn sosiale- of omgewingskonteks [40 punte] VRAAG 5 en VRAAG 6 AFDELING C: Ontwerp in ʼn besigheidskonteks [30 punte] VRAAG 7 4. Lees die vereistes van elke vraag noukeurig deur. 5. Beantwoord elke vraag ten volle – moenie bloot feite opnoem nie. 6. Die puntetoekenning van elke vraag bepaal die hoeveelheid tyd wat aan elke vraag spandeer moet word. 7. Moenie inligting en voorbeelde in verskillende vrae herhaal nie. 8. Skryf netjies en leesbaar. WOORDELYS Gebruik hierdie woordelys om seker te maak jy verstaan die vrae wat gevra word: Analiseer: ʼn Gedetailleerde en logiese bespreking van die formele elemente en beginsels. Vergelyk: Dui verskille en ooreenkomste aan in ʼn geordende wyse binne dieselfde argument. Bespreek: Gee jou standpunt en gee redes vir die stellings wat jy maak (motiveer). Verduidelik: Maak duidelik en gee redes vir jou stellings (motiveer). Interpreteer: Gee ʼn ingeligte mening, ondersteun deur voorbeelde. Sê: Sê direk wat jy dink – gee jou opinie asook ʼn verduideliking. Downloaded from hlayiso.com ### Page 34 Province of the EASTERN CAPE EDUCATION NASIONALE SENIOR SERTIFIKAAT GRAAD 12 SEPTEMBER 2013 ONTWERP V1 PUNTE: 150 TYD: 3 uur *DSGNDM1* Hierdie vraestel bestaan uit 17 bladsye. 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