DESIGN
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of SIX questions. Answer all the questions.
2. There are choices within some questions in the paper. Read the different  options carefully.
3. This question paper consists of THREE sections:
   SECTION A: DESIGN LITERACY
                        QUESTIONS 1–3 [30 marks]
   SECTION B: DESIGN HISTORY
                       QUESTION 4 [30 marks]
   SECTION C: DESIGN IN A SOCIO-CULTURAL /
                       ENVIRONMENTAL AND SUSTAINABLE 
                       CONTEXT
                       QUESTION 5–6 [40 marks]
4. Read the requirements of the questions carefully. 
5. Answers must be in the form of full sentences. Listing of facts is not allowed.
6. Use the mark allocation for each question to determine the amount of time to  be spent on the question as well as the number of facts required.
7. Do not repeat the same facts and examples in different questions. 8. Write neatly and legibly. 

GLOSSARY 
Use the following glossary to make sure you understand how to approach a particular  question: 

• Analyse: A detailed and logical discussion of the formal elements and principles
• Compare: Point out differences and similarities in an ordered sequence within the  same argument
• Discuss: Present your point of view and give reasons for your statements  (motivate).
• Explain: Clarify and give reasons for your statements (motivate).
• Interpret: Give an informed opinion, supported by examples.
• State: Say directly what you think – give your opinion as well as an explanation.

QUESTIONS 

SECTION A: DESIGN LITERACY 
QUESTION 1: ‘UNSEEN’ DESIGNS TESTING VISUAL LITERACY 
Answer EITHER QUESTION 1.1 OR QUESTION 1.2. 
1.1

FIGURE A: Engraved Perspex/Lucite bangle 
designed by Phillipa Green, Olive Green Cat, Cape Town 
1.1.1 Discuss a possible target market for the product seen in FIGURE A?  Supply reasons for your answer. (2) 
1.1.2 Analyse and discuss the use of the following elements and principles of  design in FIGURE A above: 

• Shape and Form
• Balance
• Movement/Rhythm
• Focal point/Emphasis (8)

[10] 

OR

1.2

FIGURE B: Bloom lamp designed by Patrick Jouin, iD Design, Paris

1.2.1 Study the above images provided in FIGURE B. Analyse and discuss  the following: 

• Tone/Tonal value
• Unity and variety
• Texture
• Pattern (8) 

1.2.2 Discuss the use of bio-mimicry in the design of FIGURE B. (2)

[10]

QUESTION 2: COMMUNICATION THROUGH DESIGN 
2.1

FIGURE A: Anti-cyberbully poster, designed by CyberMentors, United  Kingdom

2.1.1 What is the message being conveyed by the poster in FIGURE A? (1) 
2.1.2 Explain how the designer has made use of symbolism, imagery, layout  and text to effectively convey the message of the poster in FIGURE A  above. (4) 
2.1.3 Identify and explain the Gestalt Principle that is evident in the above  poster design. (2)
2.2

FIGURE B: Desmond Tutu poster designed by Simon Berndt,   One Horse Town Studio, Cape Town

2.2.1 Discuss the possible stereotype that can be applied to the poster in  FIGURE B. (1) 
2.2.2 Identify TWO symbols seen in FIGURE B and explain how they support  the stereotype being communicated by the poster. (2)

[10]

QUESTION 3 
Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 
3.1 Refer to FIGURE A and FIGURE B and answer the questions that follow.

FIGURE A: isiXhosa bridal  necklace, South Africa	FIGURE B: Indian bridal necklace, India

The above designs in FIGURE A and FIGURE B reflect examples of bridal  necklaces worn at traditional weddings. COMPARE the two designs, by  discussing similarities and differences with reference to: 

• Materials
• Shape and Pattern
• Unity
• Aesthetic appeal
• Production technique
  (Do not use tables or headings. Use paragraphs.)

[10]

OR

3.2
 

FIGURE C: The SA Perm Building (Building Society/banking) in High Street,  Grahamstown, 1987, Erasmus Rushmere and Reid architects

Write a COMPARATIVE ESSAY (of at least ONE full page) in which you  compare ONE classical building that you have studied with the contemporary  building seen in FIGURE C above. Alternatively you may compare any  Classical building (that you have studied) with any contemporary building. 
Include the following information in your discussion: 

• Context
• Purpose/Function 
• Layout/Plan
• Materials and production techniques 
• Relation to the site
  (Do not use tables or headings. Use paragraphs.)

[10]
TOTAL SECTION A: 30

SECTION B: DESIGN HISTORY
QUESTION 4 
4.1 

FIGURE A

With reference to the above quote write TWO SEPARATE ESSAYS about TWO of  the design movements, styles or periods shown in the images of FIGURE A. 
For each movement include the following information in your discussion in support of  the statement above: 

• The origins and evolution of the movement, style or period
• Aims
• Influences
• Characteristics of the movement, style or period
• The name of ONE designer associated with the movement, style or  period and the title, with a brief description, of ONE of his/her designs (20)

4.2 Carefully study the images in FIGURE B and FIGURE C below and then  answer the questions that follow. 

FIGURE B	FIGURE C

4.2.1 Identify the design movements/styles that FIGURE B and FIGURE C  represent. (2) 
4.2.2 Write a COMPARATIVE ESSAY in which you compare FIGURE B with  FIGURE C to show your understanding of the similarities and  differences between the two design movements/styles according to the  following: 

• Balance
• Proportion/Scale
• Movement
• Focus/Emphasis/Dominance 

Support your answer with factual information from each design  movement/style. (8)

[10] 
TOTAL SECTION B: 30

SECTION C: DESIGN IN A SOCIO-CULTURAL/ENVIRONMENTAL AND  SUSTAINABLE CONTEXT 
QUESTION 5 
Answer EITHER QUESTION 5.1 OR QUESTION 5.2. 
5.1 Carefully study the image in FIGURE A below, as well as the accompanying  information and quote. Then answer the questions that follow. 

FIGURE A: Bamboo homes designed by H&P Architects in Vietnam

5.1.1 With reference to the image in FIGURE A and the quote by H.K. Vyas,  give the following information: 

• An explanation of the term ‘socially responsible design’ (2)
• Evaluate the design in FIGURE A to show whether or not it can be  considered socially responsible (4) 

5.1.2 Discuss the work of ONE contemporary South African designer/design  group and ONE international designer/design group whose work  addresses socio-cultural issues in some way.  
In an essay of at least ONE full page include the following: 

• The name of the designer or design group, indicating South  African or international
• The style of work that the designer/design group produces
• An explanation of the social-cultural issue(s) that they address
• The name and a brief discussion of ONE work by each  designer/design group
• The social impact that their designs can or have made on society 

You may NOT refer to any designer(s) that you have discussed  previously or designers referred to in this question paper. (14)

[20] 

OR

5.2

FIGURE B: The Crochet Lamp is part of the Personal Editions collection from  Dutch designer, Marcel Wanders

5.2.1 Do you think that the product design in FIGURE B above is considered  design or craft, or both? Give reasons for your answer. (2) 
5.2.2 Discuss any ONE indigenous craft that you have studied. In your  discussion, refer to the following: 

• The name of the indigenous community that produced it, origins  and traditional history
• Function and social role
• Materials and methods
• A description of ONE example (8) 

5.2.3 Discuss the work of ONE contemporary South African or African  designer who incorporates traditional methods and/or materials into  their designs thereby addressing social and/or cultural issues. 
In an essay of ONE full page, include the following: 

• Aims and influences
• Characteristics and a detailed description of how the traditional  techniques/methods and/or material(s) have been applied in  modern/contemporary design. Refer to specific examples.
• Discuss the general socio-cultural contribution made by the  designer/design group. 

You may NOT refer to any designer(s) that you have previously  mentioned, or written about. (10)

[20]

QUESTION 6 
Carefully study the images in FIGURE A below, as well as the accompanying  information on the following page. Then answer the questions that follows. 

FIGURE A: Rethaka Repurpose Schoolbag designed by eco-social entrepreneur,  Thato Kgathlanye, Johannesburg, South Africa

6.1 The design in FIGURE A can be considered a good example of social as well  as a sustainable environmental design. 
Explain ways in which environmental issues and the community benefit from  this design. (6) 
6.2 In an essay, discuss the work of any ONE contemporary South African and ONE contemporary international designer/design agency or studio (at least  1½ pages) you have studied whose work addresses environmental and/or  sustainable issues. 
Include the following information: 

• The name of the designer/design agency or studio
• How the designer/design agency or studio addresses environmental  and/or sustainable concerns in his/her/their design process
• The title and a brief description of ONE major design/design project  undertaken by this designer/group 

You may NOT refer to any designer that you have previously discussed, or  designers referred to in this question paper. (14)

[20] 
TOTAL SECTION C: 40 
GRAND TOTAL: 100