# Design Grade 12 P1 Eastern Cape Mock 2012 Memo (English) > Grade 12 Design Paper 1 memorandum from the Eastern Cape Mock Exam 2012 (English), 41 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/gr12-dsgn-p1-s12-memo-eng/27a777b0-53d5-49e5-a41c-bb1a75e3005d - Updated: 2026-09-27 - Subject: Design - Grade: Grade 12 - Document type: Memorandum - Year: 2012 - Exam period: Eastern Cape Mock Exam - Paper: 1 - Curriculum: CAPS - Pages: 41 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 2012 Memo (English)](https://www.hlayiso.com/library/gr12-dsgn-p1-s12-memo-eng/27a777b0-53d5-49e5-a41c-bb1a75e3005d) ## About this document Design · Grade 12 · Eastern Cape Mock Exam · 2012. Memorandum, 41 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 2012 DESIGN P1 (THEORY) MEMORANDUM MARKS: 150 This memorandum consists of 41 pages. ### Page 2 Downloaded from hlayiso.com 2 DESIGN P1 (Memo) (SEPTEMBER 2012) SECTION A: DESIGN LITERACY QUESTION 1 (20 marks) AS1: Make value judgements informed by a clear understanding of Design. AS2: Understand Design theory and use Design terminology correctly. 1.1 1.1.1 (Allocate 2 marks) There are a variety of motifs and each one has been repeated throughout the design, for example trees, cattle and chickens. Through the repetition of the same colour, √ for each motif throughout, black or grey. Credit any well-reasoned answer. (2) 1.1.2 (Allocate 8 marks – 2 marks per element/principle discussed) Value (tone): There is a wide range of monochromatic black and grey tones √ which makes the imagery appear more three – dimensional and realistic. √ (2) Perspective: Linear perspective has been used to create a feeling of traditional depth within each motif. √ The use of a single flat white/grey colour in the background and for the highlights within the motifs counteracts and flattens the traditional feeling of depth and perspective. √ (2) Scale and proportion: Within each motif each shape and form is proportionally correct in terms of size and scale. √ The same scale (size of figures and objects) has been used throughout which makes the design easier to read as a whole. √ (2) Rhythm: Rhythm is created by the repetition of similar motifs throughout the design, for example the bottom row of motifs is identical to the top row of the motifs. √ Rhythm is created through the repetition of the same colours throughout the design, for example grey and black. √ (2) COGNITIVE WEIGHTING Q1.1 QUESTIONS MARKS SKILLS % Observation Part of 1.1.1 + Lower order Visual 30% 1+1 Part of 1.1.2 comprehension Application of Part of 1.1.1 and Middle order 40% 1+3 elements Part of 1.1.2 Analysis Higher order Synthesis 30% 1.1.2 4 Evaluation ### Page 3 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 3 1.2 (Allocate 10 marks – 2 marks for each term discussed) INNOVATION/ORIGINALITY: FIGURE A is reminiscent of the simple, pure, geometric forms of Bauhaus chairs and could also be seen to be derivative of Modernist chairs, whereas FIGURE B‟s form is completely original. The smoothly textured, circular forms of FIGURE A have the machine-like appearance of the Modernist era, whereas FIGURE B‟s „enlarged knot‟ form is original and innovative and has not been done before. FIGURE A‟s use of cut-out negative spaces to form armrests is innovative. FIGURE A is a single, moulded plastic form similar in production to the Panton chair of the sixties, whereas in FIGURE B, the use of stuffed fabric tubing is original. Both chairs make use of unusual, artificial colour. (2) FUNCTIONALITY: Both FIGURE A and FIGURE B work as chairs, but whilst FIGURE B is an „easy‟, comfortable chair; FIGURE A seems more formal, hard and rigid. A change of body position in FIGURE A (i.e. seated with legs up) would also make it comfortable as one would be able to curl up in it. (2) TEXTURE: FIGURE A‟s texture is smooth, hard, resistant plastic giving off a cold, mechanical feeling, whereas FIGURE B‟s texture is giving, soft and pliable conforming to the body‟s form. (2) POSSIBLE INSPIRATION: FIGURE A reminds one of natural forms such as a pod, shell or egg-shell, but also has associations with science fiction and technology as it reminds one of a satellite dish or a flying saucer. It‟s simple, pure forms could be inspired by the Bauhaus and its production technique by the injection moulding of the 1960s. Its „futurist‟ form could also be inspired by the 1960s interest in the Space Age. FIGURE B seems to be inspired by a complex sailor‟s knot and could also be inspired by the beanbag chair of the 1960s. (2) SUITABLE ENVIRONMENT/CONTEXT: FIGURE A would be suitable in a formal, minimalist, modernist setting, e.g. a formal lounge in an upmarket home, hotel or waiting room. FIGURE B would be suitable for a teenager‟s room or an informal lounge as it exudes a light, funky and fun feel. (2) [20] Q1.2 COGNITIVE WEIGHTING QUESTIONS MARKS LEVEL SKILLS % Lower Observation/Compre 30% Part of 1.2 3 order hension Middle Application 40% Part of 1.2 4 order Analysis Higher Synthesis 30% Part of 1.2 3 order Evaluation/Deduction ### Page 4 Downloaded from hlayiso.com 4 DESIGN P1 (Memo) (SEPTEMBER 2012) QUESTION 2 (10 marks) AS3: Discuss, explain and demonstrate the context and purpose of the products, images, signs and symbols used in Design. AS2: Understand Design theory and use Design terminology correctly. 2.1 2.1.1 (Allocate 4 marks) FIGURE A‟s broad top and narrow bottom refers to the stereotypical „male‟ form which is broad at the shoulders and narrow at the hips. √ It is blue in colour – traditionally a colour that represents the man and conveys him as ‟cool‟ and „strong‟. √ Its streamlined and technologically complex form has a futurist, machine-age appeal reflecting the stereotypical man‟s interest and ease with machines. √ It looks like a technological device. FIGURE B‟s form reflects the „expected‟ hourglass form of the woman. √ It is pink and white – colours that traditionally represent the female and which stereotype the woman as „soft‟ and „girly‟. √ Its forms are simple, smooth and seamless for ease of use and could convey that the woman is less adept at using technology. √ Credit any valid statement. (4) 2.1.2 (Allocate 2 marks) Men and women who do not have these typical „male‟ or „female‟ characteristics are not given validity and the space to be who they are. √ A very limited range of qualities is allowed for each gender and neither is allowed to explore other aspects of themselves. √ The gender stereotyping visible in the above razor designs could be seen to promote that men need to be strong and good with technology √ and that women must be gentle and need not to understand technology. √ Credit any well-reasoned answer (2) ### Page 5 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 5 2.2 2.2.1 (Allocate 2 marks) The characters depict a „generalized‟ view of each culture, √ for example, an Arab is depicted in traditional Arab clothing and is thinking of bombs. √ This is not a fair image to use as it encourages the erroneous belief that all Arab people are terrorists and also encourages prejudice and discrimination. √ Credit any valid and well-reasoned answers. (2) 2.3 2.3.1 (Allocate 2 marks) The patterns and bright colours reflect the colours and patterns visible in traditional South African craft, for example, beadwork. √ The colours are the colours of the South African flag. √ The patterns are also suggestive of the patterns on African animal and reptiles. √ Credit any valid answers. (2) [10] Q2 COGNITIVE WEIGHTING QUESTIONS MARKS LEVEL SKILLS % Observation/Recall/ Part of 2.1.1 + Lower order 30% 2+1 Comprehension Part of 2.3.1 Part of 2.1.1 + Middle Application 40% 2.1.2 + Part of 1 + 2+ 1 order 2.2.1 Analysis Higher Part of 2.2.1 + Synthesis 30% 1+2 order Part of 2.3.1 Evaluation/Deduction ### Page 6 Downloaded from hlayiso.com 6 DESIGN P1 (Memo) (SEPTEMBER 2012) QUESTION 3 (10 marks) AS1: Make value judgements informed by a clear understanding of Design. AS2: Understand Design theory and use Design terminology correctly. AS4: Investigate, reflect on and interpret information from a variety of sources that show global influences shaping the development of Design. 3.1 3.1.1 (Allocate 10 marks) FIGURE B reflects a clear South African national identity: All cultures in South Africa use it to support their favourite teams during soccer matches (particularly during the world cup in 2010). √ Because it is used by all South African cultures it can also be said to symbolize a national entity. √ In FIGURE A the national entity of the lamp is not clear. The repetition of bold zigzag patterns as decoration √ and the fact that it is made out of a gourd, suggest closer links with ethnic cultures of South Africa than with the Polish people. √ Credit any other well-reasoned answer. (2) 3.1.2 (Allocate 2 marks) Candidates may answer yes for the following reasons: It is a way of preserving and conveying knowledge of the different South African cultures. It advertises the particular cultures of South Africa as well as the country itself. It creates a feeling of national pride. It is a way of clearly distinguishing South African products from those of other countries. (2) ### Page 7 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 7 3.1.3 (Allocate 6 marks) FORM AND SHAPE: FIGURE A: The lamp is made out of a gourd, which is a natural object and is therefore organic in form. √ The decorative flowing zigzag shapes are also organic. √ FIGURE B: The form of the actual lamp and stand is made up of curved geometric shapes, (the mouthpiece, the main body of the Vuvuzela and the open funnel shape that houses the lamp fitting), straight lines, (the long straight steel stand) and a square geometric shape at the base created by bending the steel pipe that forms the stand into a square. The square shape is further emphasized by the negative space that the bent steel pipe encloses. √ The long funnel of the Vuvuzela is emphasized by the long thin steel frame, which creates a geometric shape at its base. √ (2) TEXTURE: FIGURE A: Actual Texture is created by the holes pricked into the surface of the gourd. √ Visual Texture: The holes allow the light to shine through and cast wavy patterns on the surrounding walls. √ FIGURE B The texture of both the Vuvuzela and steel stand is smooth and appears hard to the touch. The Vuvuzela is made out of wood and the actual texture of the wood is visible, but it is not immediately noticeable. It creates just enough texture to prevent the design from becoming boring. √ (2) UNITY AND VARIETY: FIGURE A: Unity: This is created through the repetition of flowing, decorative and organic patterns on the surface, which echo the flowing organic shape of the gourd. √ Variety: The different colours and textures of the surface decoration create variety, (the dark raised flowing zigzags contrast with the white cut out areas of the gourd). √ FIGURE B: Unity: The long thin steel stand that repeats the long thin geometric shape created by the Vuvuzela gives unity to the design. √ Variety is created by the contrasting the different geometric shapes, for example the square at the base with the circles of the Vuvuzela. There is also a contrast between a natural material (the wooden Vuvuzela) and an industrial material, (the steel stand). √ (2) ### Page 8 Downloaded from hlayiso.com 8 DESIGN P1 (Memo) (SEPTEMBER 2012) Q3.1 COGNITIVE WEIGHTING QUESTIONS MARKS LEVEL SKILLS % Knowledge, 3.1.1 and part of Lower order 30% 2+1 Comprehension 3.1.2 Middle Application of elements 40% 3.1.3 4 order Analysis Higher 3.1.2 + part of Synthesis 30% 2+1 order 3.1.3 Evaluation 3.2 (Allocate 10 marks in total) Note: The learner can write on any local, contemporary designer prescribed in the LPG or from any other documented source. TWO POSSIBLE EXAMPLES HAVE BEEN SUPPLIED EXAMPLE 1: NAME OF THE DESIGNER: Sonwabile Ndamase √ (1) LOCAL AND GLOBAL INFLUENCES Strong influence from his mother – unisex way of looking at working with „feminine chores‟. √ A change of culture (member of the royal Phondo family in the Eastern Cape). √ Attending a local fashion course – grounding in Western fashion – Western influence. √ Dissatisfied – then looked at local African fashion. √ Now tries to stay ahead of both local and international trends – fusion. √ (2) ### Page 9 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 9 CHARACTERISTICS Catches the „African‟ spirit √ H eidentifies with the „people‟ who do not wear suites - collars and ties. √ Material is specially chosen – good quality , original limited addition √ Colour is an expression of confidence and assertiveness √ Uses a conventional or standing Nehru-collar √ He established the annual Vukani Fashion Awards to help develop young, especially black talent. √ Ndamase creates a platform for indigenous African fashion under his fashion label, Vukani Fashions. √ He believes that clothes are the „signs of the tribes that we belong to‟. √ He states that as a South African he feels passionate about improving the indigenous fashion in our country and works as an ambassador gaining exposure for designers on CNN and SABC Africa, as well as showcasing their work everywhere from the USA to Europe, Japan, Brazil and a wide range of African countries. √ In his designs he works at promoting an image of South Africa that is confident, proud and self-assured. √ He believes that the term “ethnic fashion‟ will no longer conjure up “boring, predictable clothing”. √ His latest ranges have a theatrical quality verging on „Afro-fantasia‟. √ In his „African Print Collection‟ shirts he aims to capture the mystery and the pride of Africa through the use of rich colour and detail. √ (4) NAME AND BRIEF DESCRIPTION OF ONE DESIGN THE MADIBA SHIRT √ Madiba shirts are designed to retain body heat but yet be cool and not heavy. √ They are buttoned to the top. √ They are well pressed and the fabric is rich in colour and pattern. √ They are long and hang over trousers. √ (3) ### Page 10 Downloaded from hlayiso.com 10 DESIGN P1 (Memo) (SEPTEMBER 2012) EXAMPLE 2: NAME OF THE DESIGNER: Carrol Boyes √ (1) LOCAL/GLOBAL INFLUENCES AND INSPIRATION: The simple, geometric patterning used by ancient civilizations influences Boyes. √ Her highly stylised figures, mostly in very active poses, remind one of the figures used in San rock art. √ (2) GENERAL CHARACTERISTICS: Boyes has a wide variety of lifestyle products, which range from cutlery, flatware, and tableware to a large selection of gift items. √ Her trademark in terms of innovative use of materials is the fusion of pewter, aluminium and stainless steel, in combination with leather and wood. √ In her search for exclusivity and choosing to work in pewter because of its malleability and versatility, she combined her talent in sculpture and knowledge of metalwork to create distinctive and unique pewter handles which is still her trademark today. √ In spite of the volume she produces in her factory, no two items are the same. The products are first made in moulds and then finished off by hand. √ Carrol Boyes is mostly inspired by the human figure. √ This is apparent in her work – human figures often form the handles of a piece of cutlery or mug, or they can be used to form the two sides of a magazine rack.√ (4) BRIEF DESCRIPTION OF ONE DESIGN: (OPTION 1) Beer Mug: √ Her innovative beer mug shows a functional object made in pewter which is more durable than glass or ceramic. √ The mug is very sleek in its finish. √ The form is very stylised and simplified. √ The smoothness of the form makes gives it a pleasing tactile quality. √ The handle is very strategically shaped to make it comfortable for the beer drinker to hold. √ The handle design has been influenced by indigenous art, namely San art. Although the FIGURE is three-dimensional its influence has been derived from two-dimensional San painting. √ ### Page 11 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 11 BRIEF DESCRIPTION OF ONE DESIGN: (OPTION 2) Butter Dish: √ This work was first modelled in clay and then cast in pewter. √ The form is unevenly rounded, heavy and chunky, reminiscent of hand- hewn, ancient, metal bowls. √ A highly simplified rounded FIGURE with arms stretching around the edge of the bowl emerges from one side of the outer wall. √ The pewter has been buffed to a smooth, sensuous, gleaming finish on the outside, which is enhanced by the contrasting, unpolished, rough inner walls. √ The gleaming silver of the pewter lends a luxurious quality to the work and subtly reflects shapes and colours from its surroundings. √ Organic, circular line dominates the work. √ (3) [20] Q3.2 COGNITIVE WEIGHTING QUESTIONS MARKS LEVEL SKILLS % Knowledge, Lower order 30% Part of 3.2 3 Comprehension Middle Application of elements 40% Part of 3.2 4 order Analysis Higher Synthesis 30% Part of 3.2 3 order Evaluation ### Page 12 Downloaded from hlayiso.com 12 DESIGN P1 (Memo) (SEPTEMBER 2012) QUESTION 4 AS1: Make value judgements informed by a clear understanding of Design. AS2: Understand Design theory and use Design terminology correctly. AS4: Investigate, reflect on and interpret information from a variety of sources that show global influences shaping the development of Design. AS5: Analyse, interpret and critically reflect on examples and relate them to their cultural, historical and contemporary contexts. ANSWERS FOR FOUR OF THE POSSIBLE FIVE CHOICES FOLLOW: 4.1 ARTS AND CRAFTS Aims: To encourage the production of handmade quality goods as opposed to low quality, over fussy mass-produced products. √ To re-establish the value and involvement of the skilled craftsman and designer. √ To encourage the design of simpler less decorative products. √ To create and make products using undecorated, natural materials (e.g. wood and stone). This was to reveal the natural beauty of the materials. √ To bring back social order, stability and good Christian values. √ (2) Influences: The Medieval Gothic style, √ a period associated with order, stability and good Christian values. This was represented in designs by the use of the pointed arch as well as the Quatrefoil and Trefoil motifs and included mythical themes such as dragons. √ The Rustic English cottage style – simple peasant or cottage style of architecture and handmade furniture - that made use of local materials left in their natural state, (stone, wood), for example chairs with carved wood and woven seats. Floorboards were left bare and roof beams left exposed to reveal the natural beauty of the materials. This is known as “truth to materials”. √ Influenced by everyday life scenes (genre) from nature, e.g. animals and flower motifs. √ (2) ### Page 13 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 13 General characteristics: Subject matter included plants, animals, birds and medieval design motifs like the trefoil and quatrefoil. √ Products: Textiles, furniture, ceramics, handmade, leather bound books, metal work and architecture. √ Materials: Natural materials such as wood and stone. √ Decoration: Used to enhance the basic design. Ornamentation kept to a minimum. √ Use of the Elements and Principles:  Shapes: Were simple and austere without any additional decoration (e.g. furniture). √ Textiles and Ceramic designs were more organic due to the influence of plant and animals. √  Colour: They made use of flat areas of bold colour in different shades of blue, yellow and red. They also made use of earth tones. √  Balance: Generally symmetrical due to the medieval Gothic influence of stability and order. √  Unity: Usually achieved through the repetition of organic lines or subject matter. √ (3) Designer: Phillip Webb √ Design: The Red House Built out of red brick (truth to materials). √ Pointed roofs typical of the Medieval Gothic style. √ Interior makes use of unpainted wooden beams, (rustic cottage style). √ Interior walls painted with murals using floral and bird designs. √ Designer: William Morris √ Design: Tapestry, the Strawberry Thieves A symmetrically balanced design √ Subject: birds in between plants and strawberries. √ Colours: contrasts of rich warm reds and cool blues. √ Line: organic. √ Unity created through the repetition of motifs, e.g. the birds. Unity also achieved through the repetition of colours. √ Variety: Achieved through a variety of different shapes, which are repeated throughout the design, e.g. the birds, flowers and leaf motifs. √ (3) ### Page 14 Downloaded from hlayiso.com 14 DESIGN P1 (Memo) (SEPTEMBER 2012) ART NOUVEAU Aims: It grew out of the Arts and Crafts movement so some of the aims were similar: To establish close links between artists and craftsmen in the design of products. √ To revive the tradition of using skilled craftsmen. √ Different in that: They did not reject the idea of factory made goods. √ Instead they wanted to transfer the quality of handmade products to factory made products and make use of modern materials, e.g. metal and steel (wrought iron work). √ (2) Influences: Japanese art (woodprints), with its: Simple, flowing decorative lines √ Stylised forms √ Grid patterns of room interiors √ Decorative patterns on fans and kimonos. √ Contrasts between open and detailed areas. √ Celtic Art and its: Elaborate, curving linear designs. √ Decorative twisting ribbon like patterns. √ Viking designs with their: Fine lines and spirals. √ Lavish ornamentation and romantic ideas. √ Symbolism (an art movement of that time period) with its: Flat forms and flat areas of colour. √ Organic, curved outlines. √ Sensual designs-curves based on nature and the female form. √ The Arts and Crafts movement: Inspired by their natural flowing forms. √ Late Gothic style: Its flamboyant lines and stained glass. √ French Rococo Art Period: The delicate lines and forms as well as the light, playful atmosphere of movement influenced Art Nouveau. √ (2) ### Page 15 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 15 General characteristics:  Subject matter: animals, birds and plants. Very stylised roses (Rennie Mackintosh), sunflowers, lilies and peacocks as well as sensuous female forms. √  Products: textiles, ceramics, metal work, glassware, jewellery, furniture and architecture. √  Materials: exotic materials, e.g. mother-of-pearl, lapis lazuli, ivory, iridescent coloured glass added to metal, ceramic jewellery ware and even furniture and wrought iron. √ (2) Elements of Design: Line: whiplash line or serpentine line. Curvilinear and languid lines that are continuous and create stylised shapes. √ Shape and Form: Organic curvilinear shapes that reflect the rhythm of the whiplash line. √ Colour: For interiors they used subtle and subdued pastel colours, e.g. pinks, yellows and greens. √ Colour: Flat matt colour contained within curving outlines, generally used for poster illustrations, e.g. Posters by Mucha. √ Principles of Design: Balance: predominantly asymmetrical. √ Contrast: Large and small forms. Cool colours against warm ones. √ Movement: the repetition of the whiplash line creates a sense of movement. √ (3) Designer: Louis Comfort Tiffany √ Designed jewellery and stained glass. Famous for his stained glass lamps. √ Design: Lamps (e.g. the Grapevine lamp) √ Lampshade made of glass mosaic pieces inserted into metal frames like stained glass windows. √ Subject grapes and grapevine leaves. √ Designer: Victor Horta √ Belgian architect known for wrought iron work, which was used and integrated into architectural designs. √ Design: Staircase in the Hotel Tassel in Brussels (1893). √ Makes clear use of the whiplash line, which repeats the curvilinear lines in the floor decoration. √ (3) ### Page 16 Downloaded from hlayiso.com 16 DESIGN P1 (Memo) (SEPTEMBER 2012) POP/NEW AGE (Also known as the Age of Affluence) (1955 – 1975) Aims: Style is international: American designers – completely restyled products and emphasized the use of technology and scientific research. √ British designers - designs to reflect modern life. Believed design, the vital link between the scientist, and the artist, the engineer and the common man. √ Modern designers - do not follow a single design idea, design styles can coexist and taste is continuously questioned. √ (2) Influences and subject matter: The requirements of the youth culture- fashionable, funky clothing that is continuously updated (T-Shirts). √ The rise in consumerism and the worldwide economic boom of the time. Movies, film and the life of film stars. √ The desire for cars and luxury household goods. √ Science and the preoccupation with outer space. (Space science-fiction motifs) √ Advertising: through the media (film, glossy magazines), the use of the psychology of social status‟ to sell household goods through the media/the start of branding and logo advertising (example: the „Apple‟ logo). √ Fashion and consumer trends by the latest designers, (the miniskirt by Quant/the „Mini‟/„Beetle‟ and Vespa Scooter) √ Pop Art: the work of Andy Warhol/Roy Lichtenstein, emphasizing everyday subject matter/The Pop culture which was anti-snobbery/Op Art- a branch of Pop Art (introduced optical illusion to household and textile design) √ The Anti-Design Movement (Italy, 1940s and 50s) – reaction to rectangular forms and design as a cheap marketing ploy. The (Sottsass) „redefined‟ design through the use of shocking colour, visual puns/undermined objects formal function/questioned relevance of taste and function. √ Humour and Wit began to appear in all aspects of design (Alessi se lemon squeezer, toys). √ Kitsch - playfulness and irony in design (bad taste with an edge to it), undermining the aesthetic seriousness if things previously considered beautiful (Andy Warhol‟s Marilyn Monroe images seen as an art from - „High Kitsch) √ (2) ### Page 17 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 17 CHARACTERISTICS: If learner makes reference to the new materials, they must get marks. These dictated by the wide range of new processes and materials available from chemical processes, for example: Wood could be moulded. √ Plastic was invented -/Cellulose acetate/celluloid was made from chemically treated cotton - it had divided range of applications. √ Acrylic, fibreglass, Styrofoam, PVC plastic, chromed steel and metal alloys, moulded glass, synthetic rubber, textile fibre, nylon, epoxy and cellophane. √ Shape, form and line: Reaction to Bauhaus „hard-edge‟ design. √ Works characterized by biomorphic shapes of American Abstract Art movement and natural forms with shapes that were fluid, undulating and curvaceous (influence of Scandinavian designers) √ The simple lines of the Asian (Japanese) traditions. √ Experimented with new shapes from new materials (e.g. injection moulded plastic), the single pedestal/cantilevered chair. Formal legs replaced by tensioned and sprung support systems. √ Traditional materials (cane and wood) transformed through new processes, (e.g. plywood) enabling new moulded shape. √ Colour: Larger variety widely available in new synthetic paints in wide range of tones. √ Greater opportunity for general public to transform own living environment. √ The development of acrylic paints. √ (3) WORKS : Technology: The Sunbeam Mixmaster food processor designed by Swedish designer Ivar Jepson. √ Purpose: A new scaled down version of earlier large, unwieldy industrial machines. It was robust, versatile and easier to use for domestic purposes. √ Social Context: To have the latest model was a domestic status symbol. √ Ensured the continuous updating of designs. The Sunbeam mixmaster was one of the latest, newly designed, essential tools for the household along with the refrigerator, stove, kettle, washing machine, toaster, food processor and vacuum cleaner. √ ### Page 18 Downloaded from hlayiso.com 18 DESIGN P1 (Memo) (SEPTEMBER 2012) Function and design: Consisted of a food processor and a mixer unit that could be detached and used as a hand-mixer. √ Its space age streamlining influenced by the car industry (chrome housing, interlocking paddles and adaptable speeds which could be programmed by twisting the calibrated plastic cap at the end of the machine. √ The beaters pulled out of the spindle and fitted in the sides and bottoms of the bowl. √ It was used to make juice, peel fruit, shell peas, press out pasta and grind coffee. √ Attachments could be fitted to provide other functions - e.g. for opening cans. √ Shaping the environment: The amount of time spent on domestic chores was significantly reduced- creating more leisure time. √ (3) POST MODERNISM Aims: To move away from the authoritarianism of Modernism (where adherence to strict rules is expected) and to replace it with variety and individuality. √ To create designs that satisfy human needs – to move away from cold, impersonal, machine-like designs. √ To create designs that can be appreciated and understood by the general public and that are not elitist like those of the Modernists (i.e. only understood by a select few). √ To reinstate links with past design styles and to create a balance between modernism and tradition. √ To acknowledge local, existing styles and the needs of individuals. √ Any TWO of these aims or any other relevant aims can be mentioned (2) Influences VENTURI: Venturi‟s slogan „Less Is Bore‟ is a counter-statement to the Modernist belief that „Less Is More‟. His rejection of their emphasis on purity, simplicity and austerity influence Post Modernists. √ THE ANTI-DESIGN MOVEMENT of the 1960s in ITALY: Memphis Studio, Archizoom and Super studio are all design groups that form part of this movement. Their use of eclectic sources as inspiration as well as their combination of cheap and expensive materials and of popular and high culture influences Post Modernism. √ FEMINISM: The emphasis on the female point of view starts to influence designs. √ ### Page 19 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 19 Any TWO of these influences or any other relevant influences can be mentioned. (2) Characteristics: Post-Modernist designs are called eclectic – designers borrow from past styles (e.g. Greek and Roman building elements) and combine these in one design. This can lead to a lack of coherence. √ Transient and glossy images are often used. √ Ornamentation/decoration becomes important again. Colour, distortion, kitsch, humour, wit and irony become essential components. √ Modern techniques, materials and forms are combined with traditional techniques, materials and forms (e.g. smooth, machine-like, geometric steel forms are combined with wooden organic, curved arch forms) √ (3) AN EXAMPLE OF ONE WORK: „THE GHOST CHAIR‟ by Phillipe Starck √ Aim, Function and Context: The chair‟s shape clearly reflects the shape of a Baroque chair √ designed during the reign of French king Louis XV, but it is made from plastic - a very modern, transparent material. √ This merging of old and new is very typical of Post Modernism. √ The function of the chair is to be a strong seat that can carry the weight of a body. √ The fact that it is transparent undermines this function. √ This playful questioning of the function of a structure is a rejection of the Modernists belief in Functionalism √ and is also typical of Post Modernism. √ Form and Line The chair consists of elegant, simple, curving lines √ and forms that reflect tradition and help to convey grandeur and dignity. √ The smooth, unadorned surfaces change the forms to being modernist and minimalist. √ Colour, material, texture and technique The chair is produced from transparent polycarbonate plastic √ in various pastel colours, such as pale apricot, antique yellow, ghost grey and pale green. √ It is also produced in very bright colours. These light-hearted, fun-filled colours undermine the stately character of the original chair and give it a modern twist. √ (3) (2x10) [20] ### Page 20 Downloaded from hlayiso.com 20 DESIGN P1 (Memo) (SEPTEMBER 2012) Q4.1 COGNITIVE WEIGHTING QUESTIONS MARKS LEVEL SKILLS % Lower Observation/Recall/ 30% Part of 4.1 6 order Comprehension Middle Application 40% Part of 4.1 8 order Analysis Higher Synthesis 30% Part of 4.1 6 order Evaluation 4.2 4.2.1 (Allocate 8 marks) Candidates must answer in paragraphs and not in table form. Art Deco works often show the influence of the stepped pyramids and monuments of the Egyptians and the Aztecs √ and this is visible in FIGURE A‟s use of a stepped roof outline and of strips of wall that are superimposed to create a stepped effect. √ Stepped pyramid low relief decoration is also visible on the two outer panels. √ The influence of Egyptian temple decoration can be seen in decorative detail such as the papyrus-like chevron on the left. √ The clean lines and repetition of rectangular shapes show the influence of the machine on Art Deco. √ FIGURE B also shows the influence of the machine age in its use of simple, smooth, undecorated, block-like forms. √ FIGURE B‟s lack of decoration is clearly influenced by the Bauhaus‟s emphasis on functionalism. √ Whilst The Art Deco building is decorative using colour and pattern on the exterior, √ the Modernist building is not decorated, consisting of simple planes of glass, metal and white concrete. √ The Art Deco building makes use of various non-functional elements, √ for example the repetition of horizontal indentations in the centre panel, to create interesting surfaces, whereas the Modernist building uses only functional elements, for example the lines on the balcony are part of the balcony railing. √ The Art Deco building is dramatic and theatrical √ whereas the modernist building exudes a stable, ordered and calm feeling. √ (8) ### Page 21 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 21 4.2.2 (Allocate one mark for a designer and one mark for a work by the designer). Any of the following or any other accredited designers from each movement. Arts Deco: William van Alen √ – The Chrysler building √ Clarice Cliff √ – The Age of Jazz √ Modernism: Mies van der Rohe √ – The Seagram building √ Arne Jacobsen √ – The Ant Chair. √ (2) [30] Q4.2 COGNITIVE WEIGHTING QUESTIONS MARKS LEVEL SKILLS % Lower Part of 4.2.1 + Recall 30% 1+ 2 order 4.2.2 Middle Application 40% Part of 4.2.1 4 order Analysis Higher Synthesis 30% Part of 4.2.1 3 order Evaluation TOTAL SECTION A: 80 ### Page 22 Downloaded from hlayiso.com 22 DESIGN P1 (Memo) (SEPTEMBER 2012) SECTION B: DESIGN IN A SOCIAL/ENVIRONMENTAL CONTEXT QUESTION 5 (20 marks) AS1: Make value judgements informed by a clear understanding of Design. AS2: Understand Design theory and use Design terminology correctly. AS7: Demonstrate an understanding of the ways in which Design can be used to reinforce or challenge social, cultural, environmental and ethical issues. 5.1 5.1.1 (Allocate 7 marks – to get a mark a fact must be supported by an explanation or an example). Note: A learner may use any example from an LTSM as prescribed in the LPG (i.e. the Woolworths Book ‘Living with Design Daily’ or ‘Craft Art in SA’ by E. Coetsee) or any documented source. Candidates can choose a South African designer or group who is concerned with helping to bring about change in ANY social issue, for example, poverty; capitalisation; gender issues; health issues; social injustices; racism; and marginalization. Some examples of designers or Design groups are: MonkeyBiz – poverty alleviation and job creation Mapula – poverty alleviation and job creation Streetwise – poverty alleviation, skills training, job creation Mielie – poverty alleviation, skills training, job creation The learner should discuss named works by their chosen designer. ### Page 23 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 23 Example 1: (Allocate 7 marks) MONKEYBIZ BEADING OUTREACH PROJECT Barbara Jackson and Shirley Fintz, ceramicists, founded Monkeybiz in January 2000 with Mathaphelo Ngaka, a crafter. √ They saw the potential for marketing and at the same time reviving the traditional craft of beadwork. √ Mathaphelo got a few unemployed women from the Western Cape to make more dolls. √ Having received a positive response from local shops and tourists, they expanded the business to other communities in order to promote social upliftment. √ They now have approximately 450 women making dolls with 200 women on their waiting list, and in addition to dolls they make bags, beaded pictures, animals, cushion covers and sculptures. √ They continue to teach and motivate the crafters, inspiring them to become recognised bead artists, and also help them learn business skills so that they can improve their social and economic status. √ In 2003, the Cape Town studio of Monkeybiz received a visit from the directors of ArtAidsArt, a US non-profit organisation, who purchased many dolls and returned to the USA to hold a doll sale fundraiser, with the support of a group of African-American women, the sale generated the funds needed to purchase a container or studio in Khayelitsha has been christened „The Boat‟ to acknowledge its role as a place of safety and support for female artists, another social outreach project. √ The collaboration between Monkeybiz and ArtAidsArt has continued to bear fruit and in 2004 Art AidsArt hosted the only US exhibit of „Positively HIV‟ in Pasedena, California, and held a second sale of bead art to fund the Monkeybiz Wellness Clinic. They formed an Aids Support Group in their building in Cape Town. √ The women have formed a sewing group and they are busy customising denim jackets, making HIV Love Letters and T- shirts. √ The artists have formed a non-profit company so that all profits go directly back into the communities and the women benefit. Carrol Boyes stocks Monkeybiz artwork at her new store in New York to increase sales in order to generate more money for socially disadvantaged women. Their own-initiated Aids clinic is self-sufficient and well attended. √ (7) ### Page 24 Downloaded from hlayiso.com 24 DESIGN P1 (Memo) (SEPTEMBER 2012) Example 2: (Allocate 7 marks) MAPULA Mapula was started to provide employment for rural women. √ It was initially funded by a charitable NGO but is now self-funding. This is what is known as „empowerment‟. √ The women create their own designs based on natural forms such as flowers and trees √ and also refer to events in their daily lives – such as children playing in a rural community. √ The women were initially taught the skills of surface design and embroidery techniques, and now come up with many new designs. √ An example of one of their most used stitches is the chain stitch. √ They create both functional products such as cushion covers and table runners, as well as one of a kind art pieces such as wall hangings. √ Their work is usually on black cotton cloth, √ and brightly coloured cottons emphasize the unique African identity of their work. √ Surfaces are often densely embroidered and the black negative spaces function as the background. √ The cotton is in itself environmentally friendly and sustainable as it is readily available in South Africa. √ Give credit for any other valid information. Example 3: (Allocate 7 marks) (7) A contemporary South African Craft Business and community development project: STREETWIRES Streetwires, a highly profitable craft business and community development project, was established by Patrick Schofield, Winston Rangwana and Anthony Ressel. √ The business focuses on producing street wire art, a uniquely Southern African genre. √ Its aim is to tackle the problems of unemployment and poverty in our country. √ The most likely origins of this art form are the rural areas of Maputuland and Zimbabwe where poor herd boys created their own toys out of discarded hanger wire, tin cans and whatever else they could find. √ ### Page 25 Downloaded from hlayiso.com (SEPTEMBER 2012) DESIGN P1 (Memo) 25 The three co-founders of Streetwires all come from different backgrounds and each made a valuable contribution: Scholfield has an Honours degree in business science and used his house as security to start the company. √ Rangwani contributed a wealth of knowledge regarding the „wire‟ industry. √ Ressel provided the marketing know-how. √ In the beginning, only two wire artists were employed on a part-time basis, using a room in Schofield‟s house as their workspace. √ The business grew, resulting in two larger premises. √ The Cape Town studio reveals a business based on quality control. √ New wire-art designs are being created by a design team and once designs have been approved, templates are made and passed on to the wire crafters who work as a team to manufacture the product. √ To maintain a high standard the team leader ensures that the template design is adhered to exactly and that the template design is passed through quality control before being released. √ The company believes that the major hurdle facing our country is unemployment: It is the leading cause of numerous social ills such as poverty. √ It hampers community growth and development. √ The aim is to create meaningful long-term employment for as many South Africans as possible and to improve the life of South Africans by providing a workplace, permanent employment, a sense of purpose and access to skills training and personal development. √ „Streetwires Training and Development‟ is a non-profit company established by Streetwires that specifically aims at uplifting communities by providing skills training, development of individual artists and creating outreach initiatives in orphanages, schools and impoverished communities. √ Objects produced are both decorative and functional such as: √ Beaded promotional items and gifts (e.g. key rings, paperclips with logo top, business-card holders), working radios, various models of cars in wire or beaded wire and animal, bird and human sculptures. √ The shapes and forms are highly stylized and simplified, incorporating an element of whimsy and humour. √ Bright colours and simple, curvilinear outlines dominate. √ The technique of wire art dominates, incorporating materials such as beads, cut-up tin cans and bottle caps. √ (7) Text truncated here. 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