NATIONAL SENIOR CERTIFICATE GRADE 12...o The S.A. postage stamp creates a uniquely South African style. The proteas are typically South African. It’s our national flower. ; o The

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DESIGN P1

THEORY

FEBRUARY/MARCH 2009

MEMORANDUM

NATIONAL SENIOR CERTIFICATE

GRADE 12

Design/P1 2 DoE/Feb. – March 2009 NSC – Memorandum


SECTION A: DESIGN LITERACY QUESTION 1 [20 marks]

AS1: Make value judgments informed by a clear understanding of design. AS2: Understand design theory and use design terminology correctly.

1.1 [10 marks] 1.1.1 (Allocate 6 marks.) The following may be included in the analysis:

o The flowing lines (element) creates circles and flowers on the coat.

o The tactile textures (element) of the fabrics namely the firm fabric of the coat and the soft inner tunic adds to the interesting textures.

o Tonal value (element) - shades or tonal values are used in the jacket with

light circles against a dark background.

o Shape (element) – repetition of two-dimensional shapes on the jacket, namely the circles, creates beautiful fabric.

o Contrast (principle) - the rigid boxed shape of the coat contrasts with the

organic flowing shape of the inner white garment.

o The linear (flowery) repetition of patterns on the pants create rhythm (principle). OR rhythm (principle) is achieved by the repeated motives (namely circle motive) on the coat. (only 2 marks)

o Pattern (principle) – circular patterned motifs on the coat are used with

curvilinear, organic patterns found on the pants to create the fabric. The pattern creates unity and rhythm. (both principles)

o Asymmetrical balance (principle) is achieved through the varying lengths of

the garment, this adds to the overall appeal of a unified design. Eg. Short coat with/against long shirt and pants.

o Scale/ Proportion (principle) - the clothes relate to the proportions of the

human body.

o Focal area (principle) – the protea stamp on the back of the coat draws all the attention.

(Allocate any 6 marks.) Learners may refer to any design element (dot/line, colour, tonal value, form/plane, texture) or design principle (balance, rhythm, proportion/scale, focal point, unity/ contrast). Note: Each one must be motivated and explained as seen in the example. Naming of elements and principles of design can only achieve a maximum of THREE marks. The balance (3 marks) is made up of the discussion of MIDDLE (application of elements and principles of design) & HIGHER (critical analysis of elements and principles of design). (6)



1.1.2 (Allocate 4 marks.) Learners will offer different viewpoints to the question. Opinions must be based on appropriate design language. Motivation for ‘truly’ South African

o The choice of fabric shows a combination of cultures reflecting the diversity of the country. Shweshwe fabric (indigenous African culture) has become uniquely South African, and this is combined with soft white cotton in the tunic.

o Shweshwe fabric was originally an important and valued trade commodity between the European traders and the indigenous African population. It was specifically designed and made in Europe for the 18th /19th century trade market. It is now made locally.

o Patterns on the pants (flowery) and the coat (circles) could be seen as being derived from African / Islamic / Indian influences e.g. arabesque.

o The S.A. postage stamp creates a uniquely South African style. The proteas are typically South African. It’s our national flower.

o The postage stamp also reads as a metaphor for export – sending designs from South Africa to other countries. Our designs are so unique to Africa that we can export them.

o The garment’s pattern/ style reflect our traditional European suit, namely a jacket and pants in a quirky manner.

o The white cotton long shirt is most possibly made of our own South African manufactured cotton.

o It is truly South African because it is made by a fashion designer who celebrates her South African roots. She lives in South Africa and uses indigenous influences.

o Use of patterns on shirts / jackets were made popular by Mandela, even for formal attire – typical South African trend (with no tie).

Credit must be given to any valid and reasonable answer. (4)

Q1.1 LEVEL

COGNITIVE SKILLS

WEIGHTING %

QUESTIONS MARKS 10

Lower order

Observation Visual comprehension

30%

1.1.1

3

Middle order Application of elements

40%

1.1.1 + 1.1.2

3 + 1

Higher order

Analysis Synthesis Evaluation

30%

1.1.2

3



1.2 1.2.1 (Allocate 4 marks.) The chairs could be Postmodern. o Show visual contradictions - solidity (you can sit on them) against transparency

(material is see-through). o Contradictions show a sense of ironic humour, a visual pun. Can one sit on a

see-through glass-like chair? o Clear plastic (crystalline) representing ‘wood’. Modern materials used for re-

creating or re-inventing a historical style. o Suits the consumer lifestyle, as these chairs are easily mass-produced, using a

new technology (single mould). o Materials: Perspex/ plastic. Refers to the ‘cheap’ throw-away materialism of

postmodern. o Shows the eclectic ‘borrowing’ and mixing of historical styles. In this case old

traditional chair style with modern simplicity, typical postmodernism. o The words “Louis Ghost chair” is also a pun. OR

o The chairs could be Art Deco. o Oval chair back contrasted with the rectilinear legs, typical use of geometric

forms. o The visual lightness (transparency) could reflect the visual lightness of dancers

in Diaghilev’s Ballets Russes – a contextual connection. o Shiny reflective surfaces were typical of Art Deco. o Use of plastics started during this time. Here we see clear transparent plastic

(Perspex-like). Art Deco does not only use wood but also new “modern” materials, e.g. steel, glass and in this case plastic.

o Chair designs are glamorous – could appeal to the luxury market.

1.2.2 (Allocate 6 marks.) See prescribed/ recommended LTSMs in the LPG.

Some possible universal principles of design & their impact on the viewer: (Choose only 3) o ‘Form follows function’. Beauty in design follows from purity of form – it looks like

a chair. The learner could argue that the seeming comfort makes it easy to sit on (ergonomically sound) – has a back, seat and legs and looks beautiful in see-through plastic Perspex. OR A successful design will meet people’s basic needs: comfortable seat/ chair. People need comfort when sitting down – this chair is ergonomically the answer to people’s need for functionality combined with funky / hip design. (Only 2 marks)

(4)

(4)



o ‘Hierarchy of needs’. Starck could be working at the bottom of the hierarchy in addressing people’s basic need to sit on a chair, OR Starck could be working at the top of the hierarchy in the creative area with a funky /hip new solution. The chair seems functional or reliable – the plastic is, in fact, very strong but can also seem unreliable because of the use of the see-through plastic. Again this is a provocative contradiction. (Only 2 marks)

o Symmetry. The chair is bilaterally symmetrical. The property of visual

equivalence among elements in a form. This means there is a vertical axis through the chair and the one side is identical to the other. This is traditionally associated with beauty. (Only 2 marks)

o Aesthetic-usability effect. Aesthetic (beautiful) designs are seen as easier to use

than less aesthetic designs. This chair looks aesthetic and functional. Learners may want beauty and function to be equal in importance. They may argue that these chairs don’t look functional because they are perspex/plastic but still looks aesthetically pleasing. (Only 2 marks)

o Cost benefit. Client will look to see if the benefits of the product (these chairs)

are equal or greater than the cost/effort to make them. In this case the chairs are stylish and would benefit an up-market restaurant. Although they are plastic, they do cost a great deal. They are more expensive than a wooden and upholstered chair. (Only 2 marks)

Any other possibilities may be given credit. Choose any three universal principles and motivate from given design example.

(6) [20]

Q1.2 COGNITIVE SKILLS

WEIGHTING %

QUESTIONS MARKS LEVEL 10

Lower order Recall Observation Comprehension

30% 1.2.1 3

Middle order Application 40% 1.2.1 1.2.2

3 1

Higher order

Analysis 30%

1.2.2

Synthesis Evaluation

3



QUESTION 2 [10 marks]

AS3: Discuss, explain and demonstrate the context and purpose of the products, images, signs and symbols used in design to convey overt and hidden messages that reinforce or challenge stereotypes, biases and prejudices, past and present.

AS2: Understand design theory and use design terminology correctly.

2.1 2.2

(Allocate 3 marks) The huge head is the focal area. The head also covers most of the page. Pienaar uses radiating lines that lead the eye to the head and this emphasizes it. The detailed charms around the neck on the chain also emphasize the head as focal point by encircling it . The use of positive (black) and negative (white) shapes that radiate toward the head puts emphasis on it. Credit must be given to any valid and reasonable answer. (Allocate 5 marks.) Learners will offer different viewpoints to the question. Opinions must be based on appropriate design language. Learners must be able to identify the existence of stereotypes and discuss how these designs challenge or reinforce stereotypes that are embedded in the design. Viewpoint 1: Inappropriate. Learners may find the the use of only a black person as racist because people of other racial groups will also attend the conference. The use of Bling (jewellery) is usually associated with a stereotype (material culture) that exists in our present society. This image could be seen as ‘hippie’ with reference to ‘free love’. This may be an inappropriate association for some learners. Some learners may not want to associate with slang/dialect e.g. ‘eKapa’ = Cape Town. Learners may not want to associate with gambling e.g. the dice as part of the jewellery piece. Credit must also be awarded to any other reasonable observations. Viewpoint 2: Appropriate. From a different perspective, some learners may argue that the design is refreshing in creating a fresh, ‘cool’ appeal that is needed to take their minds off the serious situations in South Africa. Learners may argue that the design is appropriate in creating a unique “look” that is appealing and modern. The many and varied charms around the neck could represent the various facets of the city – charms collected as memories from the city. This could represent diversity. The design is certainly striking and eye-catching. This may have been the brief given to the artist/designer. It would be clear when viewed quickly – e.g. tied to lamp posts. Credit must also be awarded to any other reasonable observations.

(3)

(5)



2.3

(Allocate 2 marks.) A politically correct design implies that it will cater to as many South Africans as possible. It will not offend certain groups. Although a designer cannot please everybody, he/she must be sensitive to possible hurtful statements / images, e.g. on traditions, the way clothes are worn, etc.

The need to create ‘PC’ design will always remain a feature of the design world. In a country that is still healing from a deeply hurtful past, designers in the ‘new’ SA need to be sensitive to the needs of ever changing trends, e.g. low-cut jeans revealing the belly-button could be offensive to Muslims as could female faces or strapless T-shirts exposing the shoulders and arms. The need to balance ‘trendy’ with sensitivity towards all people remains the challenge of South African designers. Stereotypes (gender, racial and class) in the design world need to be approached in a much more sensitive direction, e.g. the Fair Lady magazine already excludes “Fair Gentleman”; the Drum magazine is exclusively for the black market; Men’s Health only for men and ‘teen’ magazines excluding people because of their age, regardless of race and gender.

(2) [10]

Q2 LEVEL

COGNITIVE SKILLS

WEIGHTING

QUESTIONS MARKS 10

Lower order

Observation Recall Comprehension

30%

2.1.1+2.1.2

3

Middle order Application 40% 2.1.2 4 Higher order

Analysis Synthesis Evaluation Deduction

30%

2.1.2 + 2.1.3

3




AS4: Investigate, reflect on and interpret information from a variety of sources that show global influences shaping the development of design.

3.1

FIGURE A: Art Therapy Centre in Soweto - Kate Otten Architects A view of the therapy room (exterior and interior).

FIGURE B: 'Bird’s Nest', Chinese National Stadium in Beijing. Used for the 2008 Olympic Games. Made from reinforced concrete.

Compare differences and similarities between the two buildings shown in terms of: Influences (2 marks: one mark for FIGURE A and one mark for FIGURE B)

o Influence of African architecture is seen in FIGURE A as realised through the references to the decorative brick patterning of the dome and the North African mud dome.

o In FIGURE A the use of galvanised/ corrugated iron sheets or the ‘farm’ water tank and the round form of the ‘rondavel’ and hut are typical examples of South African rural architecture.

o In FIGURE A the woven stick interior is reminiscent of typical South African rural hand-woven grass mats and reed roofs.

o In FIGURE B the influence of nature is seen as realised through the references to the Bird’s nest in the stadium. There is a woven, irregular use of beams like a nest, as if a huge bird could nest on top.

o FIGURE B is influenced by the International Style in the use of concrete and steel girders.

Credit must be given to any valid and reasonable answer.

Materials (2 marks: one mark for FIGURE A and one mark for FIGURE B)

o In FIGURE A, ordinary (clay) bricks are used as is galvanized / corrugated iron sheets in the tank, which are readily available in South Africa.

o The use of high-tech materials in FIGURE B is clearly evident. The use of reinforced concrete as seen in the ‘Bird’s nest’ is a striking feature of the design.


Technology (2 marks: one mark for FIGURE A and one mark for FIGURE B)

o In FIGURE A, local builders could be used to lay the bricks. o In comparison to the Art Therapy Centre, The National Stadium in B

utilises the most advanced technology e.g. cranes, hydraulic lifts. This technology is needed to meet the extreme safety regulations that are needed for a modern-day stadium, e.g. reinforced concrete not just cement.


(2)

(2)

(2)



Function (2 marks: one mark for FIGURE A and one mark for FIGURE B)

o The function of the art therapy is to facilitate small groups in discussion and art making.

o The stadium is used primarily to entertain masses of people or to accommodate spectators watching competitive sports etc.


Motivate success (2 marks: one mark for FIGURE A and one mark for FIGURE B) Learners will offer different viewpoints to the question. Opinions must be based on appropriate design language. FIGURE A: Art Therapy Centre

o This design could be more successful as it relies on local materials and local labour that do not need advanced technology, e.g. hand-made bricks.

o Labour and hand-made materials like bricks are cost-effective and are therefore appropriate for a community centre.

o If ‘form follows function’ is a standard both are successful. FIGURE B: Stadium

o Some learners may argue that the stadium is far more successful due to the enormity of the project. The scale and purpose (function) of the stadium can be evaluated as being more successful in that it caters for masses of people.

o Some learners may also argue that the stadium requires far more planning and funding than the art therapy centre because of its scale and function. This project will showcase the architect’s and civil / mechanical engineer’s abilities without whom the stadium could not have been constructed.


(2)

(2)


PERCENTAGE QUESTIONS MARKS LEVEL 10

Lower order

Observation Recall Comprehension

30%

3

Middle order Application to examples

40%

4

Higher order Comparison 30% 3



3.2 A learner may use any example from the prescribed/recommended LTSMs in the LPG, or refer to the prescribed Gr.12 Design Handbook. Marks allocated for any 10 relevant marks. EXAMPLE: 3.2.1 (Allocate 4 marks in total.) Allocate marks as follow:

• Name of the designer / studio / agency (1) • Name of design / product (1) • Description of the design / product (2)

Name of designer / agency:(1 mark)The Jupiter Drawing Room (TJDR) – Johannesburg Design / product (1 mark) Project: Jiffy Campaign. Description of the design / product (2 marks) They communicate the new idea of “freshness” e.g. with the poster with only a piece of biltong in a Jiffy bag . Only the word “biltong” is used in this poster. . The idea that even dried food will be brought back to full freshness when placed inside a Jiffy bag is shown. The slogan “It’s not fresh till it’s Jiffy fresh” is created for this campaign This new positioning of the brand with the idea of “freshness” is linked to all the other marketing items e.g. logo, packaging etc. (4) 3.2.2 (Allocate 6 marks in total.) Allocate marks as follow:

• Influences on and intentions of the designer/group: (2 marks) • Characteristic style of the design(s): (2 marks) • Methods of working: (2 marks)

Influences on and intentions of the designer/group: (2 marks) Use of the local products and environment with emphasis on eco-friendly products or campaigns. Their intention is to simplify advertising, they believe by communicating one advertisement across a number of media, you stand a greater chance of your brand being noticed, remembered and acted upon. Characteristic style of the design(s): (2 marks) They produce work in all the major media categories, e.g. television, cinema, billboards, digital media and print. A traditional advertising agency – all major media plus new media. Ownership is 100% local independent – and 57% BEE Founder: Graham Warsop – still executive creative director



CEO – Silverstone; Mkhari & Ralebitso – new partners; this symbolizes what cooperation can achieve in SA. Judged ‘Best Agency’ in the country by AdFocus Biggest client – Edcon (Edgars & Jet) New accounts – MTN, Absa, Sasol and SA Airways (worth R1bn) Clients (e.g. Edgars) maintain that it is a very creative agency. Social responsibility budget stands at R450 000 Methods of working: (2 marks) Ranked by Deloittes as one of the top 20 companies to work for, based on: job satisfaction

; good management style ; healthy relationships and trust between employers and employees ; scope for diversity and rewards for good work ; recognition of good work ; performance bonuses from management . Therefore a ‘good’ company to work for. Credit must be given to any valid and reasonable answer. (6) OR ANOTHER EXAMPLE 3.2.1 (Allocate 4 marks in total.) Allocate marks as follow:


Name of designer/studio/agency (1) Mielie Design (designed by Adri Schutz) Design / product (1) Example 1:Mielie handbag Description of the design / product (2) The handbag is made by using strips of recycled material Brightly coloured e.g. red, yellow etc. Knotted cotton fabric OR Name of design / product (1) Example 2: Cubic stuffed cushions – ‘Block stool’ Description of the design / product (2) The ottoman made from strips of material that’s knotted Made use of brightly coloured (e.g. red and green etc.) Knotted cotton fabric Depict her local environment. (4) 3.2.2 (Allocate 6 marks in total.) Allocate marks as follow:




Influences on and intentions of the designer/group: (2 marks) Influenced by people around her (their stylized faces on stool panels) To create uniquely (South African) fashion / furniture products by using traditional knotting methods as well as recycled materials. She encourages as much handwork as possible, helping the social environment by creating jobs. To use recycled products e.g. old clothing are turned into handbags - whenever possible. Characteristic style of the design(s) (2 marks) Characteristic use of bright colour and fabric –; unusual combinations, e.g. lime green and purple These material strips are knotted to create the textiles or products. Method of working (2 marks) Strips of bright coloured material hooked through hessian cloth and a loop and knot made at the back. Handbag handles are outsourced, creating other job opportunities or business ventures. Credit must be given to any valid and reasonable answer. OR ANOTHER EXAMPLE 3.2.1 (Allocate 4 marks in total.) Allocate marks as follow:


Name of the designer / studio / agency / group (1) The Mapula Project designers unknown Name of design / product (1) Domestic Violence Must Stop Now (Mapula Project – unknown embroiderer) Description of the design / product (2) This is an embroidered wall hanging done in bright expressive thread on black cotton. It shows a scene in which a woman is chased by a man with a sjambok. It reflects a distressing theme common in South Africa. Influences on and intentions of the designer / group: the economic empowerment project was named ‘Mapula’ – ‘mother of the rain’ – this suggested a good harvest as well as feminine power. (4) 3.2.2 (Allocate 6 marks in total.) Allocate marks as follow:




Influences on and intentions of the designer/group: (2 marks) Set up the Sisters of Mercy and the Soroptimists – headed by Prof. Skawran. Intentions: to improve the status of women by empowering them (teaching skills) Use economic and social development by making sure these projects can be on-going –‘sustainability’, e.g. the selling of products and using the profits to buy more raw materials for creating more products Characteristic style of the design(s): (2 marks) Usually black cotton fabric (eco-friendly) and brightly coloured embroidery thread. Images used are from daily life and happenings around them (genre) . Very simplified and outlined with coloured thread Methods of working: (2 marks) These cloths are hand stitched using chain stitch. Women take the work home to finish there, so that they can still look after children. Sometimes these women are single mothers and sole providers. They gather regularly to hand in work and discuss new possibilities Credit must be given to any valid and reasonable answer. (6) Allocate 10 marks in total. [20]


WEIGHTING QUESTIONS Marks LEVEL 10 Lower order Recall

Name 30% 3.2.1

3

Middle order Application 40% 3.2.1 + 3.2.2 4

Higher order Analysis Synthesis Evaluation Deduction

30%

3.2.2

3




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.

See prescribed/recommended LTSMs in the LPG for a list of 20th Century styles to be covered or refer to Gr. 12 Design Handbook. Viz.: Arts & Crafts Movement; Art Nouveau; Bauhaus; Art Deco; Modernism; Pop / New Age; Postmodernism. 4.1 (Allocate 20 marks in total.) EXAMPLE: OPTION: Arts and Crafts Movement – ‘fitness for purpose’ (allocate 10 marks per style / movement) Name a designer and a design. (2 marks) William Morris, e. g. “Wallpaper design”, inspired by real birds eating strawberries amongst the flowers and leaves or “State furniture” or any other from LPG. Influences. (2 marks.) • Influenced by Gothic architecture – uses arches, quatrefoil and trefoil shapes – these

are imposing and transcendental • Influenced by the Medieval spirit (often mythical themes e.g. dragons) – simple

handmade rustic peasant architecture and crafts, e.g. rustic handmade chairs with carved wood and woven seats.

• Influenced by everyday life scenes (genre) and from nature, e.g. animals and flower motifs.

Discuss the characteristics. (5 marks) • Themes of the “countryside”, e.g. milking cows; country flowers. These can be seen in

Morris’ printed fabrics. • Depict human figures taken from Medieval sources e.g. seen in stained glass and

furniture panels • Reaction to 19th century industrialization, e.g. no mass production of articles • The craftsman was valued as an artist – his ‘rightful place’ • Wanted to increase the awareness that arts and crafts could improve the quality of life

– an ennobling occupation • Used handmade techniques handed down from generation to generation. The father

would do the carpentry while the mother would weave a cushion. • Craftsman often worked in a guild (cooperative) similar to the Medieval Guild system • Construction details were often made visible e.g. the rivets in metalwork and the

dowelling in furniture would have a decorative function • Natural materials that were ‘untouched’ by industry were used. E.g. indigenous

(English) woods such as oak and beech



Importance to the learner. (1 mark only) • Possibility - importance of hand craft in design (e.g. illustrations by hand) • Possibility - themes of humanity (genre) may be explored by learners in their own work

AND Postmodern movement – ‘less is a bore’ (allocate 10 marks per style/ movement) Name a designer and a design. (2 marks) • Ettore Sottsass • E.g. ‘Casablanca’ 1981 OR ‘Carlton’ sideboard OR ‘Tomato’ chair

Influences. (2 marks) • A reaction to the sometimes wasteful mass-consumerism of the 60s resulted in an

emphasis on reducing waste. • The movement referred back to older styles in an eclectic and ironic (mocking)

manner. Bauhaus has been humanised, e.g. Graves’ Bauhaus-like triangular kettle with a bird whistle.

Discuss the characteristics. (5 marks) • A sense of humour and incongruity is common – Sottsass uses a tilted shelf to

provide a sense of humour and incongruity – seems here to contradict the purpose of a shelf as a horizontal surface.

• Functional objects have a playful, hip (absurd) use of colour. E.g. red, yellow and

white – reminiscent of toy alphabet blocks and kindergarten toys.

• Combinations of geometric forms to create a shelf, which is reminiscent of a person (Sottsass).

• Patterns often mocked natural fur (e.g. leopard skin) and industrial markings (e.g.

cast non-slip plates).

• Metaphor was often used. E.g. Sottsass’ sideboard has the shape of a mythical (‘magical’, rune-like) symbol. It looks like a man or monster figure.

• Eclecticism (borrowing) is common. Motifs, e.g. Doric rectangular shapes are

‘borrowed’ from ancient sources like Greek, Roman and Renaissance architecture.



Importance to the learner. (1 mark only)

• Possibility – to always incorporate a fun element in a serious design, e.g. Michael Grave’s kettle with a bird whistle on the spout.

• Possibility – the escapist, fantasy nature of the style, e.g. learners may like to design fantasy humans for animation purposes. (20)

Q4.1 COGNITIVE

SKILLS WEIGHTING QUESTIONS MARKS

LEVEL 10 Lower order Recall of facts 30% 3 Middle order Application 40% 4 Higher order Critique 30% 3

4.2 Posters (Allocate 10 marks in total.) FIGURE A: (5 marks) FIGURE B: (5 marks) Art Nouveau (‘the languid line’)

Bauhaus (de Stijl)

The lines made by the hair are free-flowing and curvilinear.

Lines are straight – rectilinear – reflective of the machine age.

Creates a decorative naturalistic framework for the kiss.

The white empty space around the design is important as a frame to emphasise it.

The hair has become stylized – changed into natural forms e.g. everything influenced by nature.

The black positive shapes have become stylized (abstracted). The linear bar shapes at the top barely read as writing – DE STYL (de Stijl)

Very feminine in mood (use of two women) – sensual (“The Kiss”).

Very masculine in mood – refers to geometry and machines not the human body. Thus non-figurative – the use of basic form.

All over organic shapes patterning – always refers to the figurative/ “nature” relationship.

Patterning is in the centre and is in black and white (positive and negative) geometric shapes

The strands of hair are not arranged symmetrically – there is variety as to which lines go over and which under.

The shapes in the central area are asymmetrically arranged, although there is a visual balance.

This creates a rhythmic moving composition.

This creates a solid static composition.

Give credit to any other characteristics that apply to the examples. (10) [30]



Q4.2

COGNITIVE SKILLS


Lower order Observation Visual comprehension

30% 3

Middle order Application 40% 4 Higher order Analysis 30% 3 TOTAL SECTION A: 80 SECTION B: DESIGN IN A SOCIAL/ENVIRONMENTAL CONTEXT QUESTION 5: Social emphasis [20 marks]

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 Cigarette adverts 5.1.1 (Allocate 6 marks in total.)

FIGURE A (any 3 marks) FIGURE B (any 3 marks) Appears to be jovial and fashionable. A successful man in a uniform, who wants to share with the viewer.

Somber and depressing atmosphere of a funeral.

Has attractive qualities of a well-groomed hand; ornate emblems; the word/slogan ‘greatest’. This was before laws against tobacco advertising were brought in.

In strong contrast to A, showing the harmful and dangerous effects of smoking. E.g. the grave and the coffin.

The cigarettes are offered to the viewer by an anonymous person but the captain’s stripes on the sleeve suggests a person who can be ‘in authority’ and embodies rank or power.

The coffin in the grave is literally being replaced by the cigarette box, with a warning message –‘cigarettes can seriously damage your health’.

It can also be seen as a social, inviting gesture. It looks as if the hand is out in greeting or is offering a gift.

Anti-social. No sign of a human presence, only funeral flowers in a forest.

Content of words reflects ‘great’ ‘king’ – a positive connotation and also embodies power.

Content of words reflects ‘damage’ ‘warning’ etc. Negative connotation.

Any other acceptable reasoning.

Allocate 6 marks. (6)



5.1.2. Allocate 4 marks.

FIGURE A (2 marks) FIGURE B (2 marks)

The curvy, rounded typography suggests class or even royalty (“King Size”), complete with crest.

The typography used is far more formal, angular and basic, stripped of all frills.

Made use of different fonts/ styles, e.g. Rothman’s is written in curvilinear.

The “Warning” is written mainly in capital letters.

The “R” in “Rothman’s” is Gothic font as it looks like manuscript writing or calligraphic writing.

The font in FIGURE B is Sans Serif.

Any other acceptable reasoning. Allocate 2 marks. (4)

Q5.1. COGNITIVE SKILLS

WEIGHTING QUESTIONS MARKS LEVEL

Lower order Observation/Recall Comprehension

30% 5.1.1+ 5.1.2 3

Middle order Application 40% 5.1.1 + 5.1.2 4 Higher order Analysis

Synthesis Evaluation

30%

5.1.1 + 5.1.2

3

5.2 Social issue (local) Learners will have researched a social issue as prescribed/recommended by the LPG or refer to Gr. 12 Design Handbook. Refer to prescribed/recommended LTSMs in the LPG. Example1: ONE POSSIBLE EXAMPLE: Advertising: Contemporary dilemmas in South Africa (Allocate 10 marks.)

o Advertising can be seen as an ‘instrument of manipulation’ - creates desires. o Adverts are defined as ‘paid-for messages that attempt to transfer symbols onto

commodities to increase the likelihood that they will be found appealing and be purchased.’ Marketing is often not concerned with social issues only retail returns. Emerged in the 1920’s as a major player in retailing mass-produced products.

o On the other hand - the media /adverts make us more capable and more selective to choose an option for ourselves. People are complex and multifaceted participants in their social worlds, not docile compliant subjects. ‘Different needs for different people’.

o Advert for Mercedes-Benz C-Class 2003. This advert seats the car firmly in a class system. It creates a desire to belong to the ‘type’ of person (rich) who has certain values (successful, hard working) – the purpose of the advert is to create a desire for this life style.

o The Mercedes is seen front first, and creates a sense of self-assurance – it looks you straight in the face (headlights read like eyes) of a person with substance and integrity – creating a desire for the onlooker to join this group.



o It is a significant cultural object like a work of art – stands as an exhibit inside a

showroom appreciated for its beauty. It reflects an ergonomically functional design as well as being aesthetically pleasing.

o These values of self-assurance, integrity, substance are positive values with which people can identify.

o The Two Oceans advert is firmly situated in a class system – those who have leisure time, drink Two Oceans in a beautiful setting.

o However, adverts may create unrealistic aspirations. Advertising can be seen as using symbols to create desire for e.g. a supposedly better lifestyle.

o On the other hand, all hopes and aspirations set by advertisers are supposed to enrich one’s experience.

o The Dulux advert (showing a pregnant belly with both black and white hands across it) demonstrates how ‘colour’ and the issue of racial integration has been tackled in a responsible manner by the designer.


OR

Example 2: Another possible example: A Shopping Mall as Visual Culture (Allocate 10 marks.)

o The history of the shopping mall – how it has taken the place of the public spaces in past times. The USA led the way in the 20th century, but there are precedents from Paris. The cult of the elegant male Parisian ‘stroller’ through public spaces and shopping areas existed in the 19th century.

o Even further back in time, the Greeks and Romans used the Forum as a public meeting and shopping space.

o The function of the public space (e.g. village commons, central tree in a village, the pavement cafe) in past times was to encourage social mingling.

o Many public spaces in SA were also restricted – races were not allowed to mingle and interact socially (pre-1994). Now there are no racial and social separations.

o The shopping mall is now a space where the space is privately owned (by a proprietor or syndicate) but for public use.

o There is an implied restriction on access – ‘right of admission reserved’ notices. o However this private ‘public space’ is now very controlled. There are frequent security

patrols, CCTV and electronic theft devices. The public feels much safer here than in other so-called ‘public spaces’, e.g. parks.

o The huge development of further malls is based on the fears for safety from the public.

o Shopping malls are frequently ‘themed’. The learner can give an example from his/her own experience here. (E.g. the Westville Pavilion in Durban KZN)

o A short explanation of the given example. Example: This resembles an English seaside pavilion – like the famous one in Brighton, England.

o It is strangely disorientating to have this English experience in an African context. (Learner can give her/his own reaction to his/her example chosen.

o Previous malls were closed off from the outside – dependent on artificial lighting. o South African public desires outside living (good climate) with this now being taken

into consideration – now opened up with terraces and piazzas. o Malls have become the “meeting place of the South African middle class” . o Shopping malls blur the distinctions between commerce and leisure .



o The malls embody ideas and values of its age (emphasis on the material culture and

the creation of social class distinctions) . o These centres have become sites for leisure, escapism, entertainment and tourism

. o More recently, the malls have become a place where annual holidays and school

days are spent . o The layout of the shopping mall determines how socialisation takes place within this

environment, e.g. food court, banking level/ section, etc. .



Lower order Recall of research 30% 3 Middle order Application to selected

example 40% 4

Higher order Critique 30% 3

(10) Credit must be given to any valid and reasonable answer. QUESTION 6 6.1 (Allocate 10 marks in total.) Examples are to be found in the prescribed/recommended LTSMs in the LPG or Design Grade 12 Handbook. EXAMPLE Guidelines: Name of the designer / agency / group / studio (1 mark)

o Reuben Ndwandwe

Name of design product and two influences (3 marks) o Ndwandwe looks at the traditional baskets from his Zulu heritage – traditionally made

by women. o He was taught the technique of basketry as part of an occupational therapy

programme at a TB hospital. o He use traditional patterns of geometric zig-zag forms in his baskets, influenced by

his Zulu heritage. Characteristics, materials & techniques (4 marks)

o Ndwandwe uses a core of dried grass, he then wraps dried ilala palm leaf strips around this core and stitches these into the preceding row. His work is characterized by its very tightly woven nature, overlapping double stitching and the fact that he always weaves in the loose ends (unusual).

o The ilala is dyed using natural pigments made from berries, leaves and roots o He uses triangle and lozenge motifs based on the Zulu shield – influenced by his Zulu

heritage. o He makes use of colour contrasts – e.g. yellow ochre and natural ilala against black

and dark brown. o Viewed from above, radial symmetry is mostly evident.



Contribution to 'Eco-friendly' – ‘green’ environment. (2 marks)

• He works with sustainable materials and creates job opportunities • The ilala palm leaves are a sustainable resource as only a few very large leaves are

cut from a plant. The palm then grows new leaves for the new season. • However, it is dangerous to the tree if too many leaves are cut at once, as the tree

may die. This must be managed. • The grasses must be cut and not pulled out. This encourages future growth. Again

this must be well managed. • This type of grass is not eaten by cattle, and is therefore of use only for functional

objects. • The dyes are also natural berries, roots etc – also sustainable.


AND 6.2 (Allocate 10 marks in total.) 6.2.1 (Allocate 5 marks.) THREE possible problems (3 marks)

• Living in a container has acquired a social stigma of poverty. • The interiors could be stuffy and confined – very small and cluttered. • Heating/cooling could be extreme and difficult to control if there is no heating or air-

conditioning. TWO ways in which this might be overcome. (2 marks)

• A smart exterior (garden and designer painted walls) and interior/ décor (‘designed’) could make this home an object of desire, and a positive model - especially for young unmarried people.

• Insulating the walls, floor and roof could be achieved with false panes of thermal material or by installing central heating or air-conditioning.

• Well designed interiors and furniture can create a ‘less is more’ functional living / working space.




6.2.2 (Allocate 5 marks.) Examples as seen in the prescribed/recommended LTSMs in the LPG or refer to Gr. 12 Design Handbook. E.g. Julie Bargman; Roy McMakin; Ron Arad, etc. Example of an International designer (5 marks)

Designer: Walter Hood Example of his work: A boulevard in Macon, Georgia, USA.

Social / environmental innovations o Works on urban renewal to promote the human needs and aspirations of different

people. This is mainly a poor community that consists of African Americans o Observes the human ‘rituals’ and the everyday activities of ordinary life in order to

integrate it as part of the boulevard, e.g. the use of photographs of children and people working.

o Models the boulevard on the domestic ‘backyard’ idea – he uses intimate and ordinary photographs of people doing domestic chores, e.g. sweeping and gardening.

o Hood interviews people in the community – asks questions. Finds out what the

community values and incorporates these ideas into his work. o Discovered that this area had housed markets, fire houses, cisterns and railway lines

and use historical images of these people from the archive, e.g. the “music wall of fame”.

o Old elements such as cisterns (reservoirs) are excavated and used, this goes back to the community’s roots in order to remind them of these roots.

o Hood incorporates traces of the physical (photos of buildings from the past), cultural (musical heritage) and social histories (photographs of people who used to live there) of the community.

o This results in a ‘multi-rhythmic’ composition – many diverse elements put together in many varied ways, e.g. different photographs combined with nature.

o This is a postmodern attitude towards the diversity found in all human communities. He creates his “hybrid urban landscape” by borrowing from the old to create the new. He uses “old” roots of the community as part of their modern design landscape.

o Jazz influenced him – he believes in personal interpretation, complex harmonies, therefore he designs for all types of people.




Q6.2 LEVEL

COGNITIVE SKILLS

PERCENTAGE QUESTIONS MARKS 10

Lower order Observation/Recall Comprehension

30% 6.2.1 + 6.2.2 3

Middle order Application 40% 6.2.1 + 6.2.2 4 Higher order


30%

6.2.1 + 6.2.2

3

[20] OR

6.3

6.3.1 6.3.2

Allocate 2 marks. The use of found and recyclable materials like the bottles and the net (possibly food packaging or fishnet stockings or wire meshing). This effective use of material (recyclable bottles) will have less of an impact on our resources because it is biodegradable, made from natural sources and can be easily recycled if broken. Production methods are effective – can be handmade by glass blowers who do not use machines / technology – only heat and flames. Maintenance is simple – can be cleaned with a wet cloth. The use of energy-saving light bulbs can also contribute toward a sustainable environment by lasting longer and therefore limiting the use of environmentally problematic bulb . Credit must be given to any valid and reasonable answer. (Allocate 8 marks.) Example of a South African designer: Haldane Martin Design: Zulu Mama Chair

o Uses traditional Zulu Craft technique such as basket weaving.

o Out-sources the weaving which creates jobs. He believes in working cooperatively which is also good for job creation.

o Uses recycled plastic milk bottles, which cuts down on waste dumping.

o Unlike Martin, most mainstream manufacturers won’t work with recycled plastic because it is not defined as ‘virgin’ plastic (pure new plastic). He has sourced a recycler and a plastic extruder and then got them to work together.

o The Zulu Mama chair is sophisticated, contemporary and very comfortable. He creates collector’s items which are satisfying people’s need of aesthetics and functionalism.

o The spiral weaving technique, which is unique to Southern Africa is a very durable weaving pattern and has created beautiful and organic shapes. This has great export potential, which will benefit the economy.

(2)





WEIGHTING %

QUESTION

MARKS LEVEL 10

Lower order

Recall Knowledge

30 6.3.1; 6.3.3 3

Comprehension Middle order Application 40 6.3.2; 6.3.3 4 Higher order

Analysis Synthesis

30 6.3.1.; 6.3.2;

6.3.3. Evaluation

3

AND 6.4 6.4.1 6.4.2

(Allocate 4 marks.) The designer(s) made use of natural materials like feathers and balsa wood in the designs. They made use of animals (plight of the animals/environment = important) and remained true to the animals’ natural features, although stylised. The costume pieces with masks, worn during dance rituals, were adapted to become headdresses, staying true to African tradition. Human figures were used. No technologically advanced characters, e.g. robots, were used. 'eco'-friendly/green empasize (Allocate 6 marks.) Learners will have researched an International designer in prescribed/ recommended LTSM in the LPG or refer to Gr. 12 Design Handbook. Refer to LTSMs in the LPG. E.g. some possibilities Karim Rashid, Tokujin Yoshioka, Art Chantry, Roy McMakin. Example: Dante Ferretti - Film-set designs for Titus (Senate exterior and Senate interior). Ferretti made use of references from the social environment, e.g. gang presences, to depict the darkest facets of human nature in order to make it relevant to today’s violent world, e.g. urban decay. Ferretti brought diverse histories and cultures together in his sets of Rome, making it a fragmented collage of Roman, Renaissance and modern structures. (E.g. Mussolini’s Fascist Rome). Rendered in somber colours, Ferretti depicted a Rome on the brink of collapse – echoing the collapse of the Ancient Roman Empire. Ferretti’s design thus becomes part classical splendour and part tough contemporary chic, making Shakespeare relevant to modern audiences. Credit must be given to any valid and reasonable answer.

(4)



OR ANOTHER EXAMPLE Example: Tokujin Yoshioka - the Honey-Pop Chair. The chair is made of recyclable tissue paper. This paper is biodegradable.

Furniture and interiors influenced by both traditional and contemporary materials, e.g. wood and paper for a chair. He transcends the everyday – the banal – by having layers of meaning in his work (e.g. this chair works as a piece of sculpture as well). The form is organic and the natural shape is suggestive of a honeycomb. Made of corrugated and honeycombed paper – explores the limits of paper technology – both fragile and strong. It also explores the Japanese traditional art of paper folding – origami, e.g. socially: traditional art/craft/design re-lives. Credit must be given to any valid and reasonable answer.

(6) [20]

Q6.4

LEVEL COGNITIVE

SKILLS PERCENTAGE QUESTIONS MARKS

10 Lower order

Observation/Recall Comprehension

30%

6.4.1 + 6.4.2

3

Middle order Application 40% 6.4.1 + 6.4.2 4 Higher order


30%

6.4.1 + 6.4.2

3

TOTAL SECTION B: 40 SECTION C: DESIGN IN A BUSINESS CONTEXT QUESTION 7 [30 marks]

AS 9: Demonstrate a basic understanding of marketing design products in terms of target market, packaging and advertising.

AS10: Demonstrate an understanding of responsible design by taking into

consideration human rights and environmental issues throughout the process.

AS11: Explore career opportunities within the design discipline.

Answer either QUESTION 7.1 OR QUESTION 7.2. NOTE: Refer to the prescribed/recommended LTSMs in the LPG or refer to Grade 12 Design Handbook.



7.1 7.1.1

Example of study and career opportunities. (The study possibilities researched should be discussed here.)

Study and career opportunities in design: (Allocate 10 marks.) Example: Advertising/Information Design (or any other example may be chosen)

o I am planning to study Information Design at the AAA School of Advertising, where they offer a 3-year diploma course in Advertising Design.

o I can also decide to study for a degree in Information Design at the University of Pretoria/Johannesburg which is a four-year course .

o Basic training at these institutes include: drawing skills, computer graphics, illustration, typography, copywriting, visual communication, marketing etc.

o To be knowledgeable about the finances of running an agency I will do a Pastel computer course .

o I can choose to work for any of the following; advertising agency, publishing firm, printing and packaging company or be a freelance designer

o The scope for career opportunities in this field is excellent for young people, I can decide to join a big advertising agency. They usually combine ‘above the line’ and ‘below the line’ advertising. ‘Above the line’ means TV, radio, print and billboards. This is the method of speaking to a wide, public audience and it is costly. These are often long-term campaigns.

o Or I may choose to work for a smaller agency which usually specializes in ‘below the line’ advertising that entails promotions, packaging, web design, competitions and special short-term campaigns to boost sales for a client.

o I can choose any of the major categories in advertising e.g. account management (which is the financial side of the profession)

o Planning department, (they research trends and plan the direction a brand will take)

o Media / marketing department that chooses the media of advertising and do the marketing of a product or campaign. The media / marketing department decides how to launch the campaign and to whom the message should be conveyed. It is a collaborative process with the rest of the staff (e.g. photographers, copy writers).

o Creative department: in the advertising world there are the creatives (also known as the ‘skills set’) and the ‘suits’ or business executives. The creatives are the people responsible for generating the artwork, words, the look and the feel of the campaign.

o The designer or design studio take a concept and brainstorm it to find a theme, creative look and discuss with the client how to deliver the message from the brief. It is a career of problem solving in order to deliver a brand message in a creative way.

o The creative director leads the entire creative process from beginning to end and always pulls the strings in order to achieve the client’s desires.

o The copywriters write the words for the advertisements. o The art directors look at the entire visual scope of the advertisement. o Designers produce work such as logo’s, letterheads, signage, packaging, o product design, brochures as well as posters and award annuals.



7.1.2 7.1.3

o The media department decides how to launch the campaign and to whom the message should be conveyed. It is a collaborative process with the rest of the staff (e.g. photographers, copywriters).

Credit must be given to any valid and reasonable answer. (10) Possible contributions to society and the environment, within your chosen field. (Allocate 4 marks.) Example: o It provides an opportunity for me to earn / generate an income in responsible

ways, e.g. I will only use recycled paper in advertising / marketing / promotional materials.

o It provides an opportunity for me to train other people in new skills and thus generates job opportunities, e.g. like the Mapula project

o It provides an opportunity for me to influence people and change attitudes e.g. through excellent copywriting skills people may start to think about the negative consequences of smoking

o I can contribute to awareness of re-new and reuse e.g. like Heath Nash I will try to incorporate recycled material in an innovative way in my designs (4)

Take note: Credit must be given to any valid and reasonable answer. Candidates may refer to any other relevant design field supported by evidence.


Possible business plan and plans for the future: (Allocate 10 marks.) Any examples: Outline the specifics of your business. Learners must refer to the What?, When?, Why?, How? of their business. Example: Proposed business name: AD Designs (in the Information Design industry)

o I will set a mission and vision statement which will include my pledge to create

design objects of high quality, environmentally friendly etc. o I would trade as a sole proprietor. I understand that this would mean that I am

responsible for all business risks, but also take all the profits. o Other choices are close corporation made up of less than 10 people or co-

operative, which will consist of any amount of part-owners and will be run in a democratic way etc.

o I would apply for a loan at the bank to be able to buy the necessary equipment e.g. Apple Mac, printer, fax and copy machine etc

o I will work from home because I have a flat with two rooms available to save on the payment of rent

o I will identify a target market: I will focus on environmentally friendly products and will establish contact with ‘Greenpeace’ for possible assignments e.g. posters, flyers etc.

o I will only accept other jobs from companies that are environmentally friendly in order to attain a niche in the advertising market.

o I would employ two studio assistants. Their role would be to help with brainstorming and to develop concepts.



7.1.4

o I would be required to pay a minimum wage as stipulated by the Department of

Labour and register them with the Unemployment Insurance Fund. o Materials would be bought from a local company – the same one which supplied

me when I was a student. They know me and I will be able to negotiate discount for my company. I will contact other suppliers for discount prices and will start setting a list of suppliers.

o I would finalise and present all new designs but train my assistants in any skills needed. In this way my business would be instrumental in skills training and the creation of job opportunities.

o I would manage the book-keeping myself, and to this end, I have already completed a 3-month course in Pastel Accounting during my studies.

o I will plan financially with a ‘funding proposal’ to have funds for purchasing paper, up-keeping of equipment, paying rent, salaries etc. I will set a budget with production and marketing costs thus do a business forecast. I will plan around running costs: variable or production costs (e.g. price of raw materials and salaries) and fixed costs (e.g. rent, electricity and water rates etc). (10)

Credit must be given to any valid and reasonable answer. A business plan is open-ended but should reflect the fact that the learner has, in the course of his/her studies, investigated the practical basics of business organization as applied to their discipline.

Your marketing strategy: ( Allocate 6 marks.)

o I will make a ‘SWOT’ analyses: look at strengths, weaknesses, opportunities, threats to my company. Analyse my company’s strengths and weaknesses, search for areas of opportunity and threat.

o I will make a ‘PESTLE’ analyses by looking at the economic, social, technological, legal and environmental issues. I will set goals and objectives. E.g. only produce high quality objects that is environmentally friendly

o I will have a resource plan: vision, mission and value statement (client's view; whether my product is creative, reliable and of good quality)

o I will create a strong brand name / logo that people will identify with and will recognise easily

o Pricing; I will do market research on pricing of design products at other agencies etc.

o I would initially advertise by using small coloured flyers and these flyers would carry my contact information.

o I already have one corporate client (for example Steers) and would be able to increase the variety and quantity of advertising designs supplied to them.

o I have made my own portfolio which I would use when making a presentation to a client. This has proved very effective as the items are then not mixed up and obscured.

o I would send (post) a small catalogue showing work done for other clients to possible clients that might be working on changing their image or gain through marketing campaigns.

o I would set up my own Internet website displaying a variety of advertising jobs showing work done for other clients.

o I would enter prestigious design competitions in order to increase my exposure. E.g. Loeries Awards.



o I would send articles on myself and my business to trade magazines in order to

increase my exposure. E.g. Design Indaba magazine. o I will ensure that I have good after-sale service, and will keep contact with

clients

Credit must be given to any valid and reasonable answer or relevant points. (6) [30]


WEIGHTING %

QUESTION

MARKS LEVEL 30

Lower order Recall/Knowledge 30% 7.1.1 9 Middle order Application 40% 7.1.1 + 7.1.3 + 7.1.4 12

Higher order Analysis Synthesis Evaluation

30% 7.1.2 + 7.1.3 9

OR 7.2 Design in a business context 7.2.1

Short question: (Allocate 5 marks.) Learners must present a well argued response relevant to the question. It should show evidence of the question’s application to their design discipline. Example: My design company would be making contemporary fabrics using traditional printing skills.

o I would use traditional designer-craftspeople but would not pay them poorly as so often happens in these types of design initiatives. The need to prevent exploitative practices remains a constant concern in the South African work environment.

o I would recognize the collaborative efforts of all employees by having an incentive bonus.

o I would ensure that I provide employees with a worker-friendly environment that respects their human dignity yet at the same time ensures high levels of professionalism. This would mean acceptable ablution facilities, ventilation and some sort of recreational facility.

o I would ensure a dialogue process with the workers in place. This could take the form of having a designated spokesperson.

o I would build skills capacity by having a training workshop for new ideas perhaps once a month.

o I would ensure that the workers have medical aid, pension plans and contribute to UIF.

Give credit for any other information that concentrates on human rights concerns. The discussion should be clear and focused on the requirements.

(5)



7.2.2 7.2.3

The learner must identify and discuss career opportunities that are available to them. The discussion must be clear and focused on the requirements as applied to their imaginary company (e.g. textile design). (Allocate 5 marks.)

o A tertiary institution would be identified. E.g. the Durban University of Technology or the Tshwane University of Technology or Cape Peninsula University of Technology. (Any other possibilities)

o A 3-year diploma or 4-year degree course would be recommended. (BTech)

o A one-year course in business administration would also be an asset. (e.g. Pastel Accounting; Microsoft Office etc)

o An exchange with an overseas designer could be arranged. (e.g. to Sweden)

o An important aspect of this employee CV would be the fact that he/she has experience within the working environment of your company thus you already know his/her ability and potential.

Credit must be given to any valid and reasonable answer or relevant points.

The document should highlight the following main areas:

Explain how you will establish a target market. (Allocate 5 marks.) Example: Textile company providing organic cotton with original South African patterns or decoration. I will visit a number of retail outlets and record the types of textiles patterns/styles that are available. I will provide samples to retail outlets to decide whether the product is liable and profitable

o I will make a ‘SWOT’ analyses: look at strengths, weaknesses, opportunities, threats to my company. Analyse my company’s strengths and weaknesses, search for areas of opportunity and threat e.g. there is a need for typical South African produced organic textiles with original patterns or decoration but at this stage it is much cheaper to import textiles.

o I will make a ‘PESTLE’ analyses by looking at the economic, social, technological, legal and environmental issues. I will set goals and objectives, e.g. there is a need for producing high quality organic textiles that is environmentally friendly, I will meet with government to establish possibilities and look for funding

o I will have a resource plan: vision, mission and value statement (clients view; whether my product is creative, reliable and of good quality). In this case there is a need for organically produced textiles and I will be able to provide

o I will interview and show samples to members of the public as well as boutique owners to establish the needs and tastes of the target market namely the South African public of all ages – it is important to know the customers' psychology.

o It is essential to keep up-to-date with what the opposition is doing and to try to avoid a price war.

(5)



o I will create a strong brand name / logo that people (the South African

public of any age) will identify with and will recognise easily o Pricing; I will do market research on pricing of textiles at other retailers

or shops etc. and will make my brand a much sought-after product. I will look at input and output effort to see who will be my main clients.


Explain how you will advertise your business and/or product(s). (Allocate 5 marks.)

o I would initially advertise by using ‘below the line’ advertising e.g. small coloured flyers that would carry my contact information.

o I will establish a internet / web site to advertise my textiles and to receive orders.

o Fairs and markets; off-cut textiles will be available for women or men that prefer to make their own clothing.

o Sponsorships; I will provide textiles for free to young and up-coming designers to get publicity from their shows.

o Promotional items; I will create bags with my textiles to be distributed with a fashion magazine

o Customer referrals – this is worth far more than an advert and costs nothing

o Advertising; I will use strategies that will be utilized in direct relation to the product. Consideration must be given to the style of advertising in relation to the product e.g. my logo will focus and show that I use organic raw material.


Explain the characteristics that you will apply to create a successful logo or branding for your product. (Allocate 5 marks.)

o I will make sure that it is easily recognizable or distinctive e.g. I will only use two colours namely red and white.

o I will ensure that the image and font for the logo will relate to the fact that I only use organic raw material e.g. I will use a simplified image of three cotton buds to represent men, women and children.

o I will use a simplified image that will reproduce well in a variety of sizes, big (on posters and billboards) and small (business cards).

o I will design a very creative logo that people will remember; new and original concept e.g. the name will be ‘Crazy cotton’ meaning that people will go crazy to have the textiles.

o I will make sure that the fonts are legible – people will recognize the name.

o The logo will be appropriate for me, depicting my eco-friendly approach.

o I will make sure that my logo is different from other similar companies or products’ logos.

(5)

(5)


Copyright reserved

o I will make sure that my logo have lasting appeal e.g. I will design a classic logo for my company.

o The printing and reproduction of my logo will be planned to be within my budget.

o The symbolism used in the logo will be easily interpreted by anyone e.g. three cotton flowers that represent the different people wearing these textiles/cloths.


Indicate the main headings/categories you should include in your CV. (Allocate 5 marks.) I would include the following:

o Personal information e.g. name, surname, address, etc. o Educational information e.g. beginning with your most recent

qualifications or achievement etc. o Work experience e.g. most recent job etc. o Computer skills e.g. list the programs that you are able to use; Excell,

Word etc. o Courses e.g. state the course title, institution etc. o Activities and interests e.g. if not relevant to the position leave out etc.

o References and testimonials e.g. previous employers etc. Credit must be given to any valid and reasonable answer or relevant points.

TOTAL SECTION C:

(5)

(5)

30

Q7.2 COGNITIVE

SKILLS PERCENTAGE QUESTIONS

Please turn over

MARKS LEVEL

Lower order

Observation/Recall Comprehension

30%

7.2.1 + 7.2.2+7.2.3

9

Middle order Application 40%

7.2.1 + 7.2.3 + 7.2.3

12

GRAND TOTAL:

Higher order


30%

7.2.1 + 7.2.2 +

7.2.3

150

9

Documents

NATIONAL SENIOR CERTIFICATE GRADE 12...o The S.A. postage stamp creates a uniquely South African style. The proteas are typically South African. It’s our national flower. ; o The