Western Cape Education Department

Directorate: Curriculum FET

DESIGN
REVISION BOOKLET
DESIGN IN CONTEXT

Grade 12

This revision program is designed to assist you in revising the critical

content and skills covered in Grade 12. The purpose is to prepare you
to understand the key concepts and to provide you with an
opportunity to establish the required standard and the application of
the knowledge necessary to succeed in the NCS examination.
This revision covers the following:
• Design literacy
• Design movements
• Case studies of designers
 2

DESIGN

GRADE 12 REVISION PAPER 1

2
 3
PREPARING FOR DESIGN PAPER 1

REVISION

The Design paper consists of SIX questions:

SECTION A: QUESTIONS 1 to 3 - Design literacy (30 marks)

SECTION B: QUESTION 4 - Design history (30 marks)
SECTION C: QUESTIONS 5 and 6 - Design in a sociocultural/ environmental and
sustainable context (40 marks)

You must answer ALL 6 questions but read the instructions carefully as there are choices within
those questions.

It is important to prepare yourself by practice answering questions from past papers

You can download papers from:

https://www.education.gov.za/Curriculum/NationalSeniorCertificate(NSC)Examinations/NSCP
astExaminationpapers.aspx

There are also many resources for design including summaries, tips, presentations, etc. on the
WCED ePortal

https://wcedeportal.co.za/

3
 4
SECTION A: DESIGN LITERACY

SECTION A:

QUESTIONS 1 to 3 - Design literacy

Question 1 – Visual literacy

• This question is usually about observation – looking at the image provided and telling us
what you see. You will usually be prompted with ELEMENTS and PRINCIPLES that you
should discuss.
• Usually a choice between Question 1.1 – 2-dimensional or Question 1.2 – 3 –
dimensional.
• This question also includes questions on the understanding of design terminology e.g.
Ergonomics, kitsch

Question 2 – Visual Communication Design

• This is also a visual literacy question that tests your ability to understand messages that
are conveyed by designs. There is usually the inclusion of bias, stereotyping,
discrimination, prejudice and subliminal messages
• Remember to analyse and explain the message communicated in the image.
• In this question, a learner must also be able to identify signs & symbols and explain their
meanings.

THE ELEMENTS AND PRINCIPLES OF DESIGN

Elements are the basic design tools and principles are the application of these elements –
elements are the basic “ingredients” and principles are the “method” used.

4
5

5
 6

LINE Words to describe line:

When discussing line in a design • blurred • freehand • curvy
consider the following: • bold • gestural • strong
• broken • horizontal • dominant
• Type (curvyed, straight, etc.) • contour • implied • thick
• Direction (horizontal, vertical, • controlled • interrupted • thin
diagonal) • curved • ruled • vertical
• Function (Contour lines, • delicate • short • wavy
ddecorative lines, lines formed by • diagonal • stippled • wide
objects in a painting, etc.) • flowing • straight • zig-zag

SHAPE AND FORM Words to describe shape & form:

When discussing shape one can speak about: • abstracted • flat
• amorphous • geometric
• Positive shapes - the actual positive image • angular • linear
on which the eye initially focuses. • asymmetrical • massive
• Negative shapes- these are the spaces or • biomorphic • proportional
shapes in-between the positive shapes • circular open
• Organic shapes- these are natural and • closed • organic
curvilinear they look relaxed • cubist • repeated
• Geometric shapes- these are man-made • curvaceous • round
and rectilinear they look formal • curvy • rounded
• An object/product has form, is three- • distorted • square
dimensional and has mass. The surrounding • elongated
space is the negative form. Look at the
shape of the work – does it penetrate space
or is it a closed form?
TEXTURE Words to describe texture:
When discussing texture one can • actual • hairy • soft
speak about: • coarse • leathery sticky
• fine • prickly • tacky
• Tactile texture- this is texture • flat • rough • thick
that can actually be felt • furry • sandy • uneven
• Simulated texture- it looks as if • gooey • shiny • velvety
it has texture • granular • simulated • wet
• gritty • smooth

COLOUR Words to describe colour:

When discussing colour one can speak • bold • muted
about: • bright • naturalistic
• Look for the dominant colour in a • calm • pale
• clear • polychromati
design and use the correct
• complementary c
terminology e.g. it is mainly done in • contrasting • primary
monochromatic blues creating a cool • cool • saturated
feeling. • dull • secondary
• Use of primary and secondary colours. • dusty • subtle
• Use of complimentary colours (red • earthy • tertiary
and green. Blue and orange, yellow • exciting • vibrant
• garish • warm
and purple) to create brightness.
6
 7
• Use of tints, shades, colour intensity, • monochromatic
etc. • multicolored
• Psychological effects of colour – warm
and cool. Also how colour creates
space e.g. blue retreating in a design.

VALUE Words to describe value:

When discussing value one can speak about: • cast shadow, • moody
• contrasting • muted
• Tone value indicates the light and dark • dark • opaque
areas of the content. • dramatic • reflected
• Creating an atmosphere e.g. dramatic • high key light
with large contrasts or soft when • highlight • shaded
predominantly light tones are used. • light • shadow
• Create focal areas by contrasts. • low key • subtle
• medium • tinted
• midtone

SPACE & DEPTH Words to describe space:

When discussing space one can speak • ambiguous • overlapping
about: • background • positive/negati
• closed ve
• depth is flat • deep • shallow
• Actual space – this exists around • flat • three
forms and is real. Designers use • foreground dimensional
actual space in the design and • middle-ground • tight
creation of three-dimensional • open • busy
designs. • two
• Two-dimensional works are created dimensional
on a flat surface. Illusionistic space • unfocused
– to portray 3D objects on a 2D
surface artist use illusionism. This is
done by using the correct
perspective (line and/or aerial) so
that an object seems to exist ‘in’ the
picture.

7
8

8
 9
PROPORTION Words to describe proportion:
• Proportion refers to relative size of objects, • out of proportion
e.g. the parts of the human body. • realistic proportion
• exaggerated
• distorted
• elongated
• surrealist
• strange
• unnatural
BALANCE Words to describe balance:
• Balance is the equal distribution of motifs • asymmetrical
or design elements. The work must be • balanced equal
visually balanced on both sides. • even unbalanced
• What creates the balance in the • radial balance
composition? • symmetry
• Is the balance symmetrical - when • top heavy
something looks exactly the same on one
side of a vertical axis, as it does on the
other side?
• Is the balance asymmetrical - balance is
achieved with dissimilar objects that
have equal visual weight, or equal eye
attraction?
• Imbalanced can be used for effect – it
usually creates a sense of unease and
even movement.
• Radial Balance- emanating from a
central point in the exam moving
outwards.
• crystallographic balance- balance
created through the repetition of a
pattern in equal size and space. E.g.
wallpaper
CONTRAST & VARIETY Words to describe contrast &variety:
• Contrast is brought about through the • Colors – warm vs. cool, complementary,
contrast between design elements for e.g. intense vs. dull
a contrast in tone, or colour or shape etc. • dramatic
• Are there contrasts in colour such as dull - • Form- real vs. abstract
bright, cool - warm, dark – light? • Line direction – horizontal vs.
• Are there contrasts of shape, texture, vertical/diagonal/curved
movement, size, complexity – simplicity? • Shapes – geometric vs. organic/free
• Sizes – large vs. small
• strong
• subtle
• Textures – smooth vs. rough
• Values – light vs. dark
EMPHASIS Words to describe emphasis:
• Emphasis is the part of the design that • dominant feature
catches the viewer’s attention. Usually the • even distribution
designer will make one area stand out by • eye catching
contrasting it with other areas. The area • focal point
could be different in size, color, texture, • leading lines
shape, etc. • subordinate

9
 10
• Emphasis is created by contrast and • uneven distribution
isolation. • zooming in
• Focal point is where your eye finally comes
to rest/draws the most attention. Explain
why a certain element is the focal point
e.g. use of perspective lines, etc.
RHYTHM & MOVEMENT Words to describe rhythm & movement:
• Movement is the path the viewer’s eye • continuous
takes through the design, often to focal • directional lines
areas. Such movement can be directed • dramatic
along lines, edges, shape, and color within • flowing
the work of art. • flowing lines
• This concept refers to the movement of • optical illusion
the viewers’ eye, across the surface of an • pattern
image, picking up the recurrent motifs, • repetition
providing the repetition inherent in the • stillness
idea of rhythm.
• Rhythm is created by repetition, and
creates a sense of movement.
SCALE Words to describe scale:
• Both scale and proportion refer to size. • intimate
• large
• life size
• massive
• miniature
• monumental
• small
COMPOSITION/UNITY Words to describe proportion:
Has the work been done on a horizontal, • angled
vertical or square format? • arrangement
Where is the focal point (main area of • background
attraction) and why is it the focal point, e.g. • circular
all the lines in the work lead to it; it’s the • diagonal
brightest or dullest part of line picture, etc. • directional lines
Pick out the main geometric groupings as • focal point
found in the work. Often the objects create • foreground
a triangular composition. The composition • horizontal
could also be circular or square – this is seen • layout
through the main lines and groups in the • middle ground
work. • position
Unity is the feeling that the different parts of • square format
the design appear as though all the parts • structure
belong together as a whole. • triangular

Question 3 - Comparison between South African and international Architecture (essay

question)
• This is a COMPARISON question – only 1 essay is required.
• There is a choice within the question but the learner MUST discuss architecture.
• The is a CHOICE between is a comparison between Classical and contemporary
architecture OR a comparison between Classical architecture and Indigenous African
Architecture. You can refer to the chosen examples e.g. places of worship or refer to
examples you have studied.
10
 11
What is important to remember when answering this section:
• Know and understand the elements and principles of design and how to apply, interpret,
explain and substantiate them in terms of the provided imagery.
• Understand concepts relating to discussing architecture. Namely: materials, function, site,
structure, structure, influences.
• General and current design terminology and concepts, as well as terms and concepts
dealt with during the study of design history (for example, you must be able to discuss
unseen designs in relation to terms and concepts (associated with design movements or
styles through the ages) such as functionalism, minimalism, eclecticism, Avant garde, anti-
design, hard-edge, bio-morphism, popular culture, sub-cultures, gender specific,
exclusivity, etc). See the glossary in back of Design Textbook.

EXAMPLE: ARCHITECTURE: COMPARISON OF CONTEMPORARY AND CLASSIC.

(Either use the given examples in the paper or use your own examples.)
EXAMPLE: Comparison between the Red Location and the Parthenon
This museum and community centre is built in the Red Location 'shack' settlement, the oldest
part of New Brighton, Port Elizabeth (Gqeberha). This building commemorates the first
resistance against apartheid in 1952 when railway workers refused to show their passes to
enter railway property. This museum also includes an art gallery, a market, a centre for
creative arts, a library, literacy centre and a conference centre. The interior includes six large
'memory boxes' constructed from red oxidised corrugated iron sheets to link with the colour of
the original shacks of the area. It houses objects and exhibitions relating to apartheid history.

Write an essay (at least 200–250 words or ONE full page) in which you compare the
contemporary South African building in FIGURE C above with ANY classical building you
have studied.
Use the following as a guideline for your essay:
• Context
• Purpose/Function
• Materials and building/construction techniques
• Structure / Architectural features
• Form and space

The Parthenon falls within the context of the height of Athenian power and was built during 447
BCE. Work on the temple continued until 432 BCE. The Parthenon, then represents Athenian
imperial power and symbolised the power and influence of the Athenian politician, Pericles,
who championed its construction. The context of The Red Location Museum is quite different as
it commemorates the first resistance towards apartheid in 1952 that occurred in New Brighton,
Port Elizabeth where the Museum is built, and is a ‘memory box’ or exhibition space for this event
as well as for other Apartheid atrocities and anti-apartheid heroic actions.

The purpose of the Parthenon was to be a temple. It stands on the Athenian Acropolis, Greece,
and is dedicated to the goddess Athena, whom the people of Athens considered their patron.
It is regarded as an enduring symbol of Ancient Greece, Athenian democracy and western
civilization. While a sacred building dedicated to the city's patron goddess, the Parthenon was
actually used primarily as a treasury. In the 5th century AD, the Parthenon was converted into a
Christian church dedicated to the Virgin Mary. The Red Location Museum, on the other hand,
commemorates the struggle against apartheid but is also a museum, community centre,
gallery, market, centre for creative arts, library and conference centre.

The materials used in the Parthenon include marble which is raw, creating the feeling that the
building grows out of a rock. It is constructed using the Greek post and lintel technique where
11
 12
a flat roof is supported by many columns. The Red Location Museum on the other hand is built
from a combination of modern materials, i.e. concrete, steel and oxidised corrugated iron. The
raw concrete combined with various metals gives the building an industrial look. The inner rooms
or ‘memory boxes’ are constructed from red galvanized iron walls to link with the red shacks in
the vicinity.

The structure/ architectural feature of the Parthenon is the fact that it is a Doric peripheral
temple form. This means that it consists of a rectangular floor plan with a series of low steps on
every side, and a colonnade of Doric columns extending around the periphery of the entire
structure. Each entrance has an additional six columns in front of it.
The repetition of the columns in front of the Red Location creates a rhythm reminiscent of the
repetition of the Doric columns of the Parthenon. These slender, simple, upright columns stand
like totems in memory of heroes who died in the struggle against apartheid. The columns of the
Parthenon are bulky and solid and dominate the building. The main columns are Doric in style
and its capitals have the simplest design.
Other prominent architectural features of the Parthenon are the use of an entablature and a
pediment displaying relief sculptures. Whereas the Parthenon’s decorative features were
permanent, the Red Location makes use of revolving exhibitions of contemporary art and of
objects and photographs to connect with the history of the past.

The Parthenon stands on a raised outcrop, called the Acropolis, in Athens. The building forms a
strong rectangular form and is almost 70m long and just over 30m wide. The façade is
constructed within the Golden Ratio (a ratio of 5:8).The Red Location is not a simple form with a
clear outline, but consists of a main building with a zigzag skyline and a loose standing
communal gathering place or ‘plaza’ with many slender vertical columns supporting a flat roof.
The series of flat concrete pillars and exposed steel roof beams create a shed-like space
whereas the interior space of the Parthenon is cloistered because of the many columns used.
The interior of the Parthenon consists of two rooms. The larger of the two interior rooms, the naos,
housed the cult statue. The smaller room was used as a treasury. The inside of the Red Location
is huge and includes six rooms in comparison to the two rooms that the Parthenon is composed
of.

SECTION B: DESIGN HISTORY

QUESTIONS 4

This question will be divided into TWO essay questions.

Question 4.1
• Usually two design movements from a given list of movements must be discussed to
substantiate/reflect a given quote.
• Important are the AIMS, INFLUENCES and CHARACTERISTICS of each of the design
movements that need to be studied. You must also be able to refer and discuss to at
least ONE designer and design for each movement.
• You need to know which movements focused on decoration vs form follows function.
• Make sure you refer to the given quote/statement provided at the top of the question at
the top of the question throughout the body of your essay.
• When referencing designers and their design products, please ensure that your examples
are actually designs and not artworks. (Andy Warhol’s silkscreens may not be used as
design examples.

12
 13
Question 4.2
• Usually, a comparison between two design examples from the same discipline but from
different movements.
• This question MUST be answered as a comparative essay.

What is important to remember when answering this section:

• You must know ALL the Design history movements from Grades 10 – 12.
• You have to write on aims, influences and characteristics as evident in a provided Design
example. Do not waste time on other information which will not be credited

You must know the following movements:

Arts and Crafts Movement

Arts Nouveau
Bauhaus
De Stijl
Art Deco
Modernism
Scandinavian Design
Pop Design
Op Design
Postmodern
Deconstructivism

13
 14
DESIGN MOVEMENTS TIMELINE

14
 15
Example: Discussion of a movement (QUESTION 4.1)
DECONSTRUCTIVISM

Deconstructivism is a truly avant-garde style that breaks completely with the past to create
designs which appear haphazard, unstable and un-unified. In architecture; instead of
consisting of straight lines that are at a right angle to the ground these buildings seemed to tilt
and lean. Many contrasting materials were often used together to create a confusing overall
picture. This is in direct contrast to mainstream use of repetition of materials or elements to
create unity. In deconstructive designs a completely unexpected structure or unexpected
materials can be inserted into a design to add to the overall feeling of confusion or chaos.
These designers questioned mainstream insistence on harmony and unity and established
norms of good design. Deconstructivist architects focused on exploring the relationship
between different parts of the building. The resulting style resembled buildings that appeared
disjointed. These buildings are exciting, unusual structures that blur the line between
architecture and art. Similar to Postmodernism the work of Deconstructivism rebels against the
standard building style of the time, Modernism. Unlike Postmodernism that wanted to return to
the individual, culture, tradition, ornamentation and enjoyment of design, deconstructivism
aimed to create a visual style that would represent the invisible relations between opposing
components. In all fields of design, the deconstructive approach led to an analysis of
meaning, form, structure and the relationship of different components. Deconstructive design
in general is characterised by distortion of the shape, fragmentation and the use of geometric
or non-rectilinear shapes to create chaos. Space seems ‘cut’ with a diagonal focus. Often a
feeling of uncertainty, unease, shock or disruption is created. Established rules are exposed
and transformed. In fashion, garments were left unfinished or the traditional structure or
production method of an item was ignored, resulting in alternative methods or materials being
used.

An example of Deconstruction design

'The Dancing House' by Frank Gehry’s (Prague), 2008.

This design is a good example of a completely new, non-traditional design. Totally contrasting
building structures are combined to create a very discordant effect. A Classical section with
arches and ornamental detail, a block-like section, a tower with block windows and a totally
contrasting twisted glass tower all form part of the whole. Previously buildings had sufficient
repeated elements to create a unified whole. The twisted glass tower is also very
unconventional. Twisting building parts have not been used before which is very
unconventional.

Deconstruction

Designer and work: Beyond Function chair by Hila Shilon or Mizar vase 1982 Ettore Sottsass
or Mobius dress by J Meejin Yoon or Smoke chair by Maarten Baas or Thumbprint by Ron
Arad

Influences:

Deconstruction is influenced by the theories of Jacques Derida.

They were influenced by the theory of 'Deconstruction', which is a form of semiotic analysis
and is characterised by ideas of fragmentation. They were also influenced by technology.
Characteristics: In structure they rejected pure function and the conservative notions of
harmony, unity and noticeable stability.

15
 16
Deconstruction creates a feeling of instability, uncertainty, unease, shock and disruption.

Buildings often have strange angles and generally have the appearance of 'coming apart'.
Deconstructivist architects focussed on exploring the relationship between various parts of a
building. Products as well as buildings have an irregular appearance. It uses non-rectilinear
shapes which serve to distort and dislocate some of the elements of architecture, such as
structure and envelope.

Objects and products are created using unusual or unconventional means such as the work
of Maarten Baas. (Maarten Baas's Clay Furniture) Deconstruction makes use of opposing
elements such as steel/water or natural/ manmade. Designs include displaced and distorted
angular forms, often set within conflicting geometries or intercepting planes. Unconventional
materials are often used such as Frank Gehry's cardboard furniture.

Difference they made:

Deconstruction played a role in making us aware of global issues and looks at the media in
new ways. Designers started to question issues around the meaning of 'real'.

EXAMPLE TABLE: MOVEMENT

See the following summary on Art Nouveau. It shows what you should know about this
movement to be able to answer the question.

Art Nouveau
Discuss the aims, influences and characteristics in term of the included quote in Question 3
4.1.
• developing an appropriate modern visual style for designs and spaces of the 20th century✓ 3
Aims

and a new urban world, devoid of excessive historicism. ✓

• Form and decoration, and a view that the arts and design should ‘speak’ a united language
through one set of principles – Gesamtkunstwerk. ✓
• Designers were influenced by the usage of Victorian technology and new industrial 3
Influences

materials
• They incorporated electric light fittings and elevators into architecture.
• Others found inspiration in the subconscious, nature and spirituality.
• Changes in society and rebelled against the traditional views regarding the role and nature
of women led to the representation of women as powerful and sensual beings.
• The intertwining line patterns are inspired by the decorative surfaces of Celtic and Viking
stone carvings
• the highly decorative lattice work seen in Late Gothic architecture
• Due to the dominantly curvilinear use of line – like the whiplash line, inspired by nature, 4
Characteristics

products express movement and feeling.

• Stylised lines and shapes dominate the surfaces of products, taking the attention away
from the form and the function and creating very decorative objects.
• Shapes and forms are mostly organic.
• Subject matter such as animals, birds, plants, highly stylised roses, sunflowers, lilies,
peacocks and the sensuous female form is used in abundance.
• Flat, matt, subtle and subdued colour is contained within
• The materials that are used are exotic and contribute to the creation of decorative and
lavish surfaces, e.g. mother-of-pearl, lapis lazuli, horn, ivory and iridescent glass.

16
 17
The Staircase of the Hotel Tassel, Brussels, Victor • The interior is delicate and full of 1 +4
Horta. feminine curves similar to a Rococo
Design and Designer
• It is generally considered as the first true Art drawing room i.e. the floor, walls
Nouveau building, because of its highly and ceilings.
innovative plan and its ground-breaking use of
materials and decoration.
• Plant-like forms and sensuous double curves,
that would later be known as 'the Belgian line' or
whiplash line, was adapted to fit every detail of
his buildings.
• Horta makes use of wrought iron as decorative
detail in the staircase and balcony structures so
that it appears as part of the actual building
material.
• He deliberately exposed the steel beams of the
columns and roof and shaped them into fantastic
plant forms and tendril designs to create a highly
decorative, expressive whole.

TEMPLATE
Use this template to make your own summaries/study notes on the different movements.

Name of movement
Discuss the aims, influences and characteristics in term of the included quote 3
in Question 4.1.
3
Aims

3
Influences

4
Characteristics

17
 18
1 +
4
Design and Designer

Remember to paste in a
picture of the design you
studied.

SECTION C: Case studies

SECTION C: Design in a socio-cultural/environmental and sustainable context

The learners have to be clear about the different categories or groups of designers used for the
case studies:

Group/Category South African/Local International

Environmental/Sustainable
Social
Socio-cultural (inspired by traditional
South African craft technique)

SECTION C:

Design in a socio-cultural/environmental and sustainable context

Question 5: Design and socio-cultural issues

You will have a choice between 5.1 and 5.2. The first focuses are on a comparison between
contemporary social issues interpreted in design. The second focuses on TRADITIONAL CRAFT
techniques and how this has influenced contemporary SA designers/ group. You need to
understand the difference between craft and design and must be able to explain the value
of INDIGENOUS KNOWLEDGE SYSTEMS in general and to South African contemporary design.
This question requires of learners to know the AIMS, INFLUENCES/ORIGINS and
CHARACTERISTICS of Traditional craft techniques.

5.1. Study TWO contemporary AWARD-WINNING international designers and TWO

contemporary AWARD-WINNING local designers who clearly address SOCIAL AND/OR
CULTURAL issues

OR

5.2 Study ONE traditional craft technique e.g. Xhosa beadwork

18
 19
AND

Study ONE SA contemporary designer inspired by a traditional craft technique. E.g. Haldane
Martin/ Laduma/ Streetwires etc.

You must show an understanding of how design can be used to create awareness on
concrete local, regional and national social issues, to uplift others and to convey socially
responsible messages. You must understand concepts and know and be able to use relevant
and appropriate terminology, such as empowerment, skills training, NGO, community
consciousness, cultural identity, etc.

Question 6: Design and environmental/sustainability issues

This question requires of learners to be fully aware of current environmental issues and to also
be aware of how design can be used to contribute to addressing these issues. They must be
able to explain what designers' responsibilities are regarding choice of materials and
production methods and must also be able to explain when irresponsible choices have been
made. Unseen examples can be given that need to be analysed for their level of
environmental responsibility.
Learners must have all the relevant vocabulary at their disposal to understand questions
relating to environmental concerns and to be able to supply good answers, (for example eco-
consciousness, green, sustainable, greenhouse effect, bio-degradable, toxic waste, landfills,
carbon footprint, recycling, re-use, human centeredness)
Learners are expected to know the AIMS, INFLUENCES and CHARACTERISTICS of at least ONE
CONTEMPORARY SOUTH AFRICAN designers and at least ONE AWARD-WINNING
CONTEMPORARY INTERNATIONAL designers whose work addresses ENVIRONMENTAL
CONCERNS. For each of these designers the learners must also be able to discuss at least ONE
design that clearly illustrates environmental/social responsibility.

What is important to remember when answering Section C:

• Do not confuse social/cultural designers with environmental designers. Ensure that you
answer and discuss the correct examples of designers and their specific works in the various
sub-categories of social-cultural and environmental / sustainable design. Explain how the
work addresses these specific issues.
• You need to be able to discuss both local (South African) and international designers’ case
studies. Identify them clearly as local or international.
• Do not use obscure or invented designers.
• Do not write ESSAYS on the examples provided in the examination paper as your chosen
designers.
• Ensure that you discuss an indigenous traditional craft i.e. the origins, functions, how made
and characteristics. Link the traditional craft to a South African designer.

19
 20
Case summary template

Name of Designer/Design Agency Picture of the relevant design

Environmental, Social or Contemporary

designer/agency OR BOTH:

Name of Designer/Design Agency

Briefly describe the background or History of the Designer/Agency:

Fully describe the social/environmental issues (problems) they are addressing via their
designs:

Choose and name a relevant design. Describe the design itself – be sure to use
adjectives/expressive language.

20
 21
LISTS OF Local DESIGNERS
LOCAL ENVIRONMENTAL DESIGNERS
Name Title of Designs TEXTBOOK
ISI ZULU MAMA CHAIR
HALDANE MARTIN SONGOLO COUCH GR 12/202
XYZ (DOT DOT DOT XYZ) MODULAR BICYCLE FRAME GR 12/384
NEW FORECOURT CT
MOKENA MAKEKA RETREAT POLICE STATION GR 12/340
WEAVER'S NEST
PORKEY HEFER- ANIMAL FARM CRATEFAN GR 12/274
ALVARO TAMARIT BENCH OF THOUGHTS GR 12/154
JEREMY MAY- LITTLEFLY JEWELLERY JEWELLERY DESIGN GR 12/153
LAURA BRULAN- YES, YES DESIGNS JEWELLERY DESIGN GR 12/153
OGILVY- JENNIFER MAESTRE SAVE OUR SEAS GR 11/371
COG PENDANT LAMP
BLUE MARMALADE CREASE MAGAZINE GR 11/417
ANDY HORN NIEVOUDTEVILLE CARAVAN SITE
KEAG BUCKHEAD
DON ALBERT THE TRUMPET HOUSE
PAT FEATHERSTON- SOIL FOR LIFE GROW TO LIVE
HEATH NASH COLOUR FLOWERBALL
CHRIS SHERMAN CRADLE HOMES 2,0
ZAID PHILANDER I SCREAM & RED IN VISI
RHATAKA WOMEN SOLAR POWERED SCHOOL BAGS
MJOINEY- NATALIE AND KI ECO FABRIC FELT LAP TOP BAGS
ROCHE VAN DEN BERG- SKOP RUBBER DÉCOR FROM TYRES
ARCHITECTURE FOR CHANGE MAMALODI POD
DANIEL AARONS MILL JUNCTION (SILOS INTO HOUSES)
JOSEPH DILIZA THANDO PAPERS

LOCAL SOCIAL DESIGNERS

Name Title of Designs TEXTBOOK
ISI ZULU MAMA CHAIR
HALDANE MARTIN SONGOLO COUCH GR 12/202
XYZ (DOT DOT DOT XYZ) MODULAR BICYCLE FRAME GR 12/384
MONARCHY- NICCI & DELAREY AFRICAN FILM 12/227
SHIRLEY FINTZ/ BARBARA JACKSON -
MONKEY BIZ BEADED ANIMALS
ADRI SCHUTZ- MIELIE DESIGN NOTEBOOK BAG 12/209
GIVE IT BAG RED HOUSE
GRAHAM WORSOP- JUPITER
DRAWING ROOM ARRIVE ALIVE
PETZER AND JONKER HIPPO ROLLER
LOVELL FRIEDMAN GUGE S'THEBE COMMUNITY CENTRE WW
CARROL BOYES BIRDMAN BOWL WW
RONELL JORDAAN NDEBEL ETRIBAL CHAIR
BAG DESIGNS
OLY MOLLY- GIVE IT BAG
TSAI DESIGN SAARTJIE BAARTMAN MEMORIAL

21
 22

LOCAL CONTEMPORARY DESIGNERS INSPIRED BY TRADITIONAL CRAFT

Name Title of Designs TEXTBOOK
ISI ZULU MAMA CHAIR
HALDANE MARTIN SONGOLO COUCH GR 12/202
WEAVER'S NEST
PORKEY HEFER- ANIMAL FARM CRATEFAN GR 12/274
12/208
LADUMA NGXOKOLO GEOMETRIC KNITWEAR DESIGN
SIYAZAMA PROJECT STORY VASES
THE WENDY HOUSE
LISA GROBLER GR 12/255
ADRI SCHUTZ- MIELIE DESIGN NOTEBOOK BAG GR 12/209
ZEN-ZULU RED WIRED JUNGLE VESSEL GR 12/211
MAPULA EMBROIDERERS SCHOOLCHILDREN GR 12/207
ARDMORE CERAMICS ZEBRA RHINO PLATTER GR 12/207
BONGIWE WALAZA VARIED DRESS DESIGNS GR 12/206
BIBI SECK AND AYSE BIRSEL MADAME DAKAR
GR 12/202
BAYO ADEGBE VARIOUS CLOTHING DESIGNS GR 12/203

SHIRLEY FINTZ/ BARBARA JACKSON -

MONKEY BIZ BEADED ANIMALS

LISTS OF International DESIGNERS

INTERNATIONAL ENVIRONMENTAL DESIGNERS

MITCHELL JOACHIM THE MIT CAR 12/389
HOK AGENCY LA BOLLONA PLAYGROUND 12/392
THOMAS HEATHERWICK SEED CATHEDRAL/ UK PAVILLION 12/330
TOKUJIN YOSHIOKA THE VENUS 12/335
ANDREA VON CHRISMAR MIMBRE SHELLS BUILDING 12/276
RICHARD KROEKER PHONEBOOK BUILDING 12/150
JARDIN DE LA CONNAISANCE LIVING GARDEN OF KNOWLEDGE 12/151
SHIGERU BAN THE PAPER BRIDGE 11/349
VICTOR PAPANEK THE BATA-KOYA PROJECT 11/412
JULIE BARGMANN AMD &ART PARK 11/413
DAVID BERMAN DO GOOD DESIGN 11/434
RAIMONDI MALERBA
MARCANTONIO DESIGN STUDIO FURNITURE 11/468
PIET HEIN EEK CUPBOARDS 11/469
FERNANDO AND HUMBERTO
CAMPANA FURNITURE PIECES 11/470
RON ARAD ROVER CHAIR
TORD BOONTJE SHADOWY COLLECTION 12/203
VERONICA SCOTT SLEEPING BAG
BLU MARMALADE LOW CUT CHAIR
GARY GRANT LIVING WALL
RYAN FRANK HACKNEY SHELF
ZAHA HADID CAR, SHOES, ARCHITECTURE
22
 23
MARTIN BAAS FURNITURE- SMOKE CHAIRS

INTERNATIONAL SOCIAL DESIGNER

CONDOM FASHION"GABRIELLE'
ADRIANA BERTINI 11/423
HOK AGENCY LA BOLLONA PLAYGROUND 12/392
JONATHEN BARNBROOK DELUX TYPOGRAPHY
KARLI ARULPRAGMASAM HUNGER
VESTERGAARD FRANDSEN- LIFE
STRAW LIFESTRAW FAMILY
EMILY PILLOTON- PROJECT H DESIGN LEARNING LANDSCAPE
LUCY ORTA REFUGEE WEAR
GIRL’S GARAGE SWOOPY CHAIR

INSTRUCTIONAL VERBS AND MEANINGS

Instructional verb Explanation

Analyse A detailed and logical discussion of the elements and principles

in Design and application thereof related to a specific Design
example.
Compare Point out differences and similarities in an ordered sequence
within the same argument. See that you consistently
throughout the essay refer to both Design
movements/examples. Structure your comparison according
to the bullets provided e.g. materials, function, form, etc.
Discuss Present your point of view and give reasons for your
statements. Use the guidelines that are often provided to
structure your answer e.g. aims, influences, a specific example,
etc.
Explain Clarify and give reasons for your statement e.g. refer to specific
images/elements/principles in the visual source/studied
example and the role they play to convey meaning and
concepts e.g. stereotyping, patriotism, etc.
Identify Point out and describe; usually very specific e.g. refer to two
symbols in the example.

Design Glossary

Abstract: relating to art that does not attempt to represent an external reality, no visual
reference to an existing object.
Appliqué: ornamental needlework in which pieces of fabric are sewn or stuck on to a larger
piece to form a picture or pattern.
Aqueduct: an artificial channel for conveying water, typically in the form of a bridge across a
valley or other gap.
Achromatic: without colour, white, grey, black.
Artistic style: describes the way an artwork looks.
23
 24
Asymmetrical: having parts which fail to correspond to one another in shape, size or
arrangement.
Aztec: a member of the indigenous people dominant in Mexico before the Spanish conquest
of the 16th century.
Analyse: examine methodically and in detail, typically in order to explain and interpret it.
Avant-garde: favouring or introducing new and experimental ideas and methods.
Atrium: an open-roofed entrance hall or central court in an ancient Roman house.
Assemblage: a work of art made by grouping together found or unrelated objects.
Bakelite: an early form of brittle plastic, typically deep brown, made from formaldehyde and
phenol, used chiefly for electrical equipment.
Biomorphic: model’s design elements on naturally occurring patterns or shapes reminiscent of
nature and living organisms.
Movement (element): implied movement using design elements or principals, how a viewer’s
eyes move over a design.
Civilizations: the society, culture, and way of life of a particular area.
Collage: a piece of art made by sticking various different materials such as photographs and
pieces of paper or fabric on to a backing.
Chronological order: arranging events in their order of occurrence in time.
Chrysoprase: an apple-green gemstone consisting of a variety of chalcedony that contains
nickel.
Decalcomania: the process of transferring designs from prepared paper on to glass or
porcelain.
Deconstructivism movement: a movement of postmodern architecture which appeared in
the 1980s that gives the impression of the fragmentation of the constructed building (absence
of harmony, continuity, or symmetry).
Delft: English or Dutch tin-glazed earthenware, typically decorated by hand in blue on a white
background.
Digital design: a growing specialty in the field of graphic design. Digital designers use creativity
and computer skills to design visuals associated with electronic technology.
Distortion: the action of distorting or the state of being distorted.
Ethics: a set of moral principles, especially ones relating to or affirming a specified group, field,
or form of conduct.
Aesthetics: a set of principles concerned with the nature and appreciation of beauty.
Eclectic: deriving ideas, style, or taste from a broad and diverse range of sources.
Elite: a size of letter in typewriting, with 12 characters to the inch, design made for the upper
classes.
Ergonomics: the study of people's efficiency in their working environment.
Frottage: the technique of taking a rubbing from an uneven surface to form the basis of a
work of art.
Façade: a deceptive outward appearance, front.
Fumage: Fumage is a surrealist art technique popularized by Wolfgang Paalen in which
impressions are made by the smoke of a candle or kerosene lamp on a piece of paper or
canvas.
Graffiti: writing or drawings scribbled, scratched or sprayed illicitly on a wall or other surface in
a public place.
Grattage: scratching the painted surface of the canvas with pointed tools to make it more
tactile.
Gestalt: an organized whole that is perceived as more than the sum of its parts.
Global: relating to the whole world; worldwide.
Recycle: convert (waste) into reusable material.
24
 25
Heraldry: armorial bearings or other heraldic symbols.
Icon: a person or thing regarded as a representative symbol or as worthy of veneration.
Isometrical: having equal dimensions or measurements.
Innovation: a new method, idea, product, the action or process of innovating.
Indigenous knowledge system: Indigenous knowledge refers to the understandings, skills and
philosophies developed by societies with long histories of interaction with their natural
surroundings
Juxtaposition: the fact of two things being seen or placed close together with contrasting
effect.
Contemporary: following modern ideas in style or design.
Kitsch: art, objects, or design considered to be in poor taste because of excessive garishness
or sentimentality, but sometimes appreciated in an ironic or knowing way.
Cognitive ability: Cognitive ability is defined as a general mental capability involving
reasoning, problem solving, planning, abstract thinking and complex idea comprehension.
Creativity: the use of imagination or original ideas to create something; inventiveness.
Complimentary colours: a colour that combined with a given colour makes white or black,
red–green, yellow–purple and blue orange.
Corporate identity: is the manner which a corporation, firm or business presents themselves to
the public.
Conceptualizing: form a concept or idea of (something).
Emphasis: special importance, value or prominence given to something
Environmental design: Environmental design is the process of addressing surrounding
environmental parameters when devising plans, programs, policies, buildings, or products.
Mandala: A mandala is a spiritual symbol in Buddhism and Hinduism. It's a symbolic
representation of the universe with an inner and outer world.
Mythology: a collection of myths, especially one belonging to a particular religious or cultural
tradition.
Mayan: denoting or relating to the Mayan family of languages, relating to or denoting the
Maya people.
Mass production: is the production of substantial amounts of standardized products, including
and especially on assembly lines.
Monochromatic: containing or using only one colour.
Methodology: a system of methods used in a particular area of study or activity.
Environmental conscience: describes many different behaviours, guidelines, and laws that
exist to reduce or minimize environmental harm.
Design literacy: design is subtly at work in every element of business, from product packaging
to how a brand's logo conveys its most important values.
Opaque: not able to be seen through; not transparent.
Automatism: the avoidance of conscious intention in producing works of art, especially by
using mechanical techniques or subconscious associations.
Ornamental: serving or intended as an ornament; decorative.
Patriotism: the quality of being patriotic; devotion to and vigorous support for one's country.
Peridot: a green semi-precious mineral, a variety of olivine.
Pictogram: a pictorial symbol for a word or phrase.
Polychromatic: of two or more varying colours; multicolour.
Popular culture: culture based on the tastes of ordinary people rather than educated elite.
Prototype: a first or preliminary version of a device or vehicle from which other forms are
developed.
Propaganda: information, especially of a biased or misleading nature, used to promote a
political cause or point of view.
25
 26
Product design: the process of imagining and creating objects meant for mass production,
such as cars, telephones, lamps, etc.
Radial balance: Radial balance is any type of balance based on a circle with its design
extending from the center.
Saturation: the state of being saturated or the action of saturating.
Semiotics: the study of signs and symbols and their use or interpretation.
Symbol: a mark or character used as a conventional representation of an object, function, or
process.
Social-cultural: something that involves the social and cultural aspects.
Social conscience/issues: a sense of responsibility or concern for the problems and injustices of
society.
Stylized: depict or treat in a mannered and non-realistic style.
Streamlined: design or provide with a form that presents very little resistance to a flow of air or
water, increasing speed and ease of movement.
SWOT analysis: a study undertaken by an organization to identify its internal strengths and
weaknesses, as well as its external opportunities and threats.
Trompe l’oeil: visual illusion in art, especially as used to trick the eye into perceiving a painted
detail as a three-dimensional object.
Trend: a general direction in which something is developing or changing.
Sign: a symbol or word used to represent an operation, instruction, concept, or object.
Thermoplastic: denoting substances (especially synthetic resins) that become plastic on
heating and harden on cooling and are able to repeat these processes.
Typography: the style and appearance of printed matter.
Upcycle: reuse (discarded objects or material) in such a way as to create a product of higher
quality or value than the original.
Universal: relating to or done by all people or things in the world or in a particular group;
applicable to all cases.
Consumer: a person who purchases goods and services for personal use.
Sustainability: the ability to be maintained at a certain rate or level.
Bias: inclination or prejudice for or against one person or group, especially in a way
considered to be unfair.
Vernacular: architecture concerned with domestic and functional rather than public or
monumental buildings.
Visual communication: the conveyance of ideas and information in forms that can be seen.
Craft: an activity involving skill in making things by hand.

26