Essay 1: The Elements of Design

History and Theory of Interior Design

BAHT6Y1

Georgia Holness 224134014

UJ Faculty of Art, Design and Architecture

Department of Interior Design

Mr Trevor Sibanda

Word Count: 1259

 TABLE OF CONTENTS

1. INTRODUCTION............................................................................................................................1

2. DENNOTATIVE MEANING...........................................................................................................1

2.1 Elements of Design......................................................................................................................1

2.1.1 Shape and Form..................................................................................................................1

2.1.2 Colour.................................................................................................................................2

2.1.3 Texture................................................................................................................................2

2.1.4 Line.....................................................................................................................................2

2.1.5 Tone....................................................................................................................................2

2.2 Materials..................................................................................................................................2

3. CONNOTATIVE MEANING..........................................................................................................3

3.1 Material...................................................................................................................................3

3.2 Colour......................................................................................................................................3

3.3 Hairstyles.................................................................................................................................4

4. CONCLUSION................................................................................................................................4

LIST OF SOURCES CONSULTED........................................................................................................5

 LIST OF FIGURES

Figure 1 Nzunza/Ndudza Portrait by Hannalie Coezee and Team..........................................................1

Figure 2 Nzunza/Ndudza Portrait by Hannalie Coezee and Team- Ceramic Plates................................3

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 1. INTRODUCTION

The aim of this essay is to analyse both the denotative and connotative meanings of the
Nzunza/Ndudza Portrait by Hannelie Coetzee and her team. The denotative analysis will focus on the
literal analysis of the artwork (Chandler 1994: [sp]) which will focus on the elements of design and
materials used for the artwork, whilst the connotative analysis will focus on the metaphorical meaning
of the artwork and what is implied and represented by the artwork (Chandler 1994:[sp]) through
colour, the materials used as well as the hairstyle the subject has. The artwork is 5.5 metres in width
and 33 metres in height (Tal 2018:[sp]). The artwork is made of ceramic plates and is based in
Braamfontien.

Figure 1 Nzunza/Ndudza Portrait by

Hannalie Coezee and Team (2024:
[sp])

2. DENNOTATIVE MEANING

The denotative meaning of an artwork focuses on the literal meaning of the artwork (Chandler 1994:
[sp]). This includes the elements of design present in the artwork as well as the materials that the
artwork is made up of.

2.1 Elements of Design

The elements of design make up part of the denotative meaning of the artwork. The elements of design
include line, tone, texture, colour and shape and form.

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 2.1.1 Shape and Form

Shape has only height and width. The Nzunza/Ndundza Portrait, however, also has depth, thus giving
it form (Mannix [sa]:[sp]). The Nzunza/Ndudza Portrait is made up of a series of geometric circular
crockery plates. These circular plates create a graphic, ordered and visually strong effect.

2.1.2 Colour

Colour is the aspect of any object that may be described in terms of hue, lightness, and saturation
(Nassau 2024:[sp]). The colours used in the artwork include monochromatic blue and turquoise shades
and is thus made up of the colours present on the cool side of the colour wheel.

2.1.3 Texture

Texture is the feeling of a surface, real or represented (Mittman [sp]:[sa]). The Nzunza/Ndundza
Portrait has a surface texture and is something that an individual could physically feel. If an individual
were to physically touch the artwork, one would feel the smooth texture of the ceramic plates and the
bumps in between when moving from plate to plate.

2.1.4 Line

Line is a continuous mark with a greater length than width (Henri [sa]:3). In the Nzunza/Ndudza
Portrait, there are no lines. There are only circles alongside other circles creating the impression of
lines.

2.1.5 Tone

Tone describes the quality of colour in an artwork (Esaak 2019:[sp]). It is how colour is perceived and
can be perceived as warm or cold, dull or bright and light or dark (Esaak 2019:[sp]). In the
Nzunza/Ndudza Portrait, a cool tone is present through using colours that are present on the cool side
of the colour wheel. White has been used to emphasise where the light would hit whilst dark blue
shades and black have been used to emphasise where the subject’s face would have shadows. It gives
the impression that light and shadow are present in the artwork.

2.2 Materials

The materials used in the artwork contribute to the denotative meaning of the artwork. The
Nzunza/Ndundza Portrait is made up of 2000 salvaged ceramic plates that were initially thrown out by
city properties as well as crockery factories (Smith 2018:[sp]). Hannelie Coetzee says that her work is
often made up of industrial waste and thus wanted to find waste that was uniform in shape, which is
what resulted in her using ceramic plates (Smith 2018:[sp]).

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 Figure 2 Nzunza/Ndudza Portrait
by Hannalie Coezee and Team-
Ceramic Plates (2024:[sp])

3. CONNOTATIVE MEANING

The connotative meaning of an artwork focuses on the metaphorical meaning of an artwork. It focuses
on what is implied by the artwork and what the artwork represents. The connotative meaning of
Nzunza/Ndudza Portrait is evident through the use of colour, the material used as well as the meaning
created through the subject’s hairstyle.

3.1 Material

The artwork is a tribute to the Nzunza/Ndundza Ndebele tribes that lived in the highveld from the
1630s to the late1600’s (Coetzee [sa]:[sp]). The Nzunza/Ndundza Ndebele tribes were a culturally
inclusive community and welcomed many other ethnicities such as the Swazi and Zulu tribes (Coetzee
[sa]:[sp]). Evidence of this cultural inclusivity can be found in their beadwork and pottery that dates to
the 17th century (Tal 2018:[sp]). It is for this reason that the material used for the artwork is crockery
(Coetzee [sa]:[sp]). The artwork’s link to diversity is evident in its location, being Braamfontein.
Braamfontein is an area that is inclusive of cultures from all around the world. The artwork was placed
in Braamfontein to emphasise this link to cultural inclusivity.

3.2 Colour

The colours used in the artwork are different shades of blue and turquoise as well as black and white.
The artwork is a tribute to the Nzunza/Ndundza Ndebele tribes whom colour is very important to.
Different colours have different cultural meanings (Kent 2007:[sp]). Blue, white and black alongside
each other, such as in the artwork, are used in combination to signify marriage (Kent 2007:[sp]).

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 3.3 Hairstyles

The hairstyle of the subject in the Nzunza/Ndundza Portrait, signifies the way in which style evolves
and how individuals have redefined themselves throughout generations (Smith 2018:[sp). Coetzee
came to the realisation that older traditional hairstyles are now serving as the inspiration for current
hairstyles (Coetzee [sa]:[sp]). She wanted to emphasise this and did so through creating a combination
of a traditional and modern hairstyle for the subject. The artwork celebrates how hairstyles from
different cultures are being rewoven and expressed in new current ways (Coetzee [sa]:[sp]). Coetzee
wanted to emphasise how history influences the present (De Beer 2018:[sp]).

4. CONCLUSION

It is evident that the Nzunza/Ndundza Portrait by Hannelie Coetzee and team has a denotative
meaning composed of the elements of design as well as the materials used to create the artwork. The
artwork’s connotative meaning is evident through the use of colour, the material used as well as the
meaning created through the subject’s hairstyle.

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LIST OF SOURCES CONSULTED

Chandler, D. 1994. Semiotics for Beginners.

Coetzee, H. [sa]. 2018 Nzunza/Ndundza Portrait.

Coetzee, H and team. 2024. Nzunza/Ndudza Portrait. Accessed 08 April 2024.

Coetzee, H and team. 2024. Nzunza/Ndudza Portrait- Ceramic Plates. Accessed 08 April 2024.

De Beer, D. 2018. The Impact of Hannelie Coetzee’s Art Resonates in Jozi Buildings and Skylines. De
Beer Necessities.

Esaak, S. 2019. What is Tone in Art?

Henri, R. [sa]. Digging- Deep Elements of Art. Philadelphia Museum of Art.

Kent, A. 2007. Ndebele Tribe of Africa

Mannix, C. [sa]. Element of Design- Shape and Form.

Nassau, K. 2024. Colour. Brittanica.

Nzunza/Ndudza Portrait. Hannalie Coezee and Team. 2024. Accessed 08 April 2024.

Nzunza/Ndudza Portrait. Hannalie Coezee and Team Ceramic Tiles. 2024. Accessed 08 April 2024.

Tal. 2018. Bespoke Fixing Solution by Tal for the Ndudza/ Nzuna Portrait

Smith, T. 2018. Creating this 168m-tall mural in Braamfontein was a hair-raising feat. Sunday Times.

Smith, T. 2018. Hair-Raising.