Design Grade 10

This is a sample module for viewing purposes only. To purchase a copy of this title contact info@futuremanagers.
net
DESIGN GRADE 10
Copyright Future Managers
Design Grade 10
DESIGN GRADE 10
Future Managers 2010 All rights reserved. No part of this book may be reproduced in any form, electronic, mechanical, photocopying, or otherwise, without prior permission of the copyright owner. ISBN 978-1-920 20361-0 First published 2009
Revised Edition 2011 To copy any part of this publication, you may contact DALRO for information and copyright clearance. Any unauthorised copying could lead to civil liability and/or criminal sanctions.
Telephone: 086 12 DALRO (from within South Africa); +27 (0)11 712-8000 Telefax: +27 (0)11 403-9094 Postal Address: P O Box 31627, Braamfontein, 2017, South Africa www.dalro.co.za
Published by Future Managers (Pty) Ltd PO Box 13194, Mowbray, 7705 Tel 021 462 3572 Fax 021 462 3681 E-mail: info@futuremanagers.net Website: www.futuremanagers.net
Book cover & layout design - ctb Design
Con tents
1. 2. 3. 4. 5. 6. 7. 8. Introduction: What is design? Introducing the elements of design Introducing drawing materials Introducing the principles of design Design in a business context Practical projects Drawing programme 1. Introduction 2. 3. 5. 6. 7. 8. 9. 10. 11. Symbols, icons and visual literacy What is printmaking? The world of communication design Gestalt theory 4. Typography
DESIGN GRADE 10
Module 1 Term one What is design?

Introducing the four main categories in the creative industry
Page
3 27 46 74 83 91 121 128
Module 2 Term two Communicating visually through design: The history and development of visual communication and information design
Page
133 134 170 173 175 185 191 219
Logos, corporate ID, advertising, branding Design in a business context
Case studies 231 Practical projects 239 Drawing programme 245
Module 3 Term three Can design benet society?

1. 2. 3. 4.
Page
Introduction to ancient Greek design 251 Pompeii glossary 256 Introduction to Pompeii: The world of design in a historical context 259 265
Pompeii: Hand-crafted design versus contemporary/ machine-produced design: differences and similarities
DESIGN GRADE 10
Module 3 continued
Page
5. 6. 7. 8.
Introduction to Gothic, Renaissance and Baroque design Practical projects Design in a business context Drawing programme
273 277 283 285
Module 4 Term four Product Design and Usability

1. Introduction to product design 291 293 294 295 296 303
2. Ergonomics 3. 4. 5. 6. The Industrial Revolution The Arts and Crafts movement Case study: William Morris The universal principles of design: Usability
7. Drawing programme 311 8. Final practical project 315
Our country, South Africa, desperately needs to employ people in a variety of industries, who can think creatively, solve problems and be innovative and original with their ideas. In short, all competitive business, requires creative
Foreword
thinkers. You, the learner/designer, could contribute to the development of a strong South African design industry and design culture. You can help us change South Africa from a country that manufactures other countries ideas (intellectual property) into a world power that supplies other countries with its original designs and sustainable solutions. We strongly believe that through a positive attitude, motivation and dedication to the subject of design, you will help to establish the foundation for a strong, innovative and productive South African design industry that has the potential to become a strong competitor with the rest of the world. At the end of the day, is this not what we all want for our country and its people? But lets see how we can make this happen. It is important that you, as the learner, are able to demonstrate that you can communicate visually (visual literacy to communicate without words) and understand how design fits into all cultures, environments and business. However, you also need to understand what has happened in the past (historically) and how this has influenced the development of many aspects and products we see today (in the present day or in contemporary practice). To be able to develop your understanding, the way you communicate, and to give you confidence, we strongly advise that you start with the very basics. Once you have a good understanding of how and where design fits into society, it will be a lot easier for you to investigate, recognise, communicate and understand the historical influences on the design products we use and see today. Then you will be able to notice and understand the influences of trends and you will be able to have a better understanding of style and why certain things in design are the way they are. You will also understand how design impacts on our daily lives.
Design education is not only going to develop designers for the future but this subject can also develop a new generation of young people who understand what good design is. After all, you should decide what you like and what you dont like. So it really depends on how the product looks and if it really works well and provides you with what you need. For instance, if you have a choice you wont buy a cell phone that looks ugly and doesnt work properly. Therefore, you as the consumer play a very important role. Each business investigates their customers likes and dislikes so that they can design for them. If the customer does not have an understanding of good design, they will not be bothered with better products and, in turn, the business will not be forced to grow and develop better products. You as the consumer will be that business target market. Although not all of you will eventually follow a career path in design, you will be equipped with vital life skills that you can use in all your other subjects, your private lives and one day in your place of work no matter which career path you eventually choose. The skills that you will learn through taking design as a subject will teach you how to solve problems, how to investigate and gather information, how to be creative and innovative, how to become an entrepreneur, how to communicate your ideas successfully and you will learn more about people and their behaviour (the different target markets you will design for), just to mention a few of the benefits. So at the end of the day it does not really matter which career path you will follow, but I know that you will agree that it would be pretty cool to already have all these skills in place so that you can improve yourself and become better at what you do in the future. Most people do not understand what design is. They think design is something for rich people, that it is expensive and just used to make things pretty but they forget that design can also be used to solve problems and provide for people who really need care and assistance on a daily basis. Design really can make a difference in peoples lives. People also dont understand that specific products can actually add to the economy of our country, employ and help a lot of people. Creative thinking can also help to develop a more sustainable world that consist out of more responsible consumers, businessess and environments. There are always a more sustainable option for every dicision we make. Architecture and engineering are
also examples of design but there are people who dont think this is true. We all know that science and technology have always been identified as high priorities in our education system the answer to a better future. A lot of people dont think that design, technology and science can work successfully together; and they should if we really want to make a difference and design top-quality products that we can export to other countries. Design should be an important part. If you think about it, all processes in technology and science should be driven by the design process where people use skills like creative thinking, innovative and original ideas and problem-solving skills. In fact, a strong relationship between design, technology, science and mathematics can only develop you into a better student and will definitely make a difference later in your life. Design is therefore definitely not a subject that should only be taken by students who cannot do mathematics or science. This subject is not a soft option and can really challenge all kinds of learners. This is not an easy option and can prepare you for further studies in engineering, architecture, industrial design and other related studies. Even the automobile industry (designing of cars) includes a lot of creativity and design. The beauty of the subject of design is that it allows for all learners to be successful, no matter what your culture or even physical disabilities are. It will all depend on the individual learner and what you decide to make of this opportunity. Since design impacts on our daily lives and improves our life standards on a daily basis, it has been proven to form a very important part of all cultures in a civilized society. We can therefore say with confidence: design is not a luxury! It is a necessity! We always refer to South Africa as a land of possibilities. Lets grab these possibilities with open arms and grow all opportunities into realities. Let us give you the power through creativity to make the difference in years to come so that we can all work together to build a better South Africa for all.
Sun Stassen
Creative Consultant and Design Activist
MODULE 1
WHAT IS DESIGN?
2
MODULE 1: TERM 1 Introducing the world of design
WHAT IS DESIGN?
Introducing the world of design
Contents
1. 2. 3. 4. 5. 6. 7. 8. Introduction: What is design? Introducing the four main categories of the creative industry Introducing the elements of design Introducing drawing materials Introducing the principles of design Design in a business context: TRENDS Practical projects Drawing programme
3
1. Introduction
WHAT IS DESIGN? What is design?
Although many products and examples of good design could be classified as luxury items, for example, extravagant jewellery, clothes and expensive cars, the human species has always, ever since the Stone Age until the present day, expressed certain basic needs in order to survive, communicate, travel, and feed, not to mention basic medical care and protection against the elements.
No culture or country can just exist without even the very basics that the Creative Industries provide. Design is therefore not a luxury but rather a necessity that reacts on basic human needs.
Sun Stassen, Creative Consultant and Design Activist
Design is everywhere its the stu that surrounds us. It is estimated that the average person interacts with about 150 items of design by breakfast from the toothpaste tube to the box containing the cornakes! Its easy to see why everything in the man-made world has been designed, from the houses we live in and the clothes we wear, to the modes of transport we use. And so design touches on every aspect of our lives, which makes it an important discipline. design is that skill or facility that improves the quality of life. Designers are optimists. They are reformers. Designers re-image the world we live in.
Ravi Naidoo Design Overview Woolworths, Making the Difference Through Design Daily resource manual
Design is not necessarily about art, but rather about creating wealth through the effective use of creativity.
Woolworths, Making the Difference Through Design Daily resource manual
A better world through creativity

Yanny realised that an outdated magazine is not a waste
How does one keep milk cold in the desert, put a roof over peoples heads, turn a magazine into a mirror, distribute night light to the remotest ends of the earth? Answer all five of these questions with the same solution. Simple: Through creativity.
It is through creativity that Nigerian teacher Mohammed Bah Abba came upon his earthenware pot-in-pot cooling device that has revolutionised lives in semi-desert areas. Rajan Harinarain also tapped into creativity when he formed the foldaway house in response to the housing shortage. Again, creativity was at the helm when Hanan
product but raw material for jewellery and new products; and Dave Irvine Halliday realised that combining LEDs with a solar-powered battery was a viable light source in even the most remote area.
Creativity can make a better world. This is the proposition that Design Indaba demands across the Creative Industries from graphic design, advertising and fashion to industrial design, architecture, craft and new media.
Design Indaba 2008
www.designindaba.com
4
WHAT IS DESIGN?
Lets have a different look at design. Lets think, eat, drink, sleep and talk design! Did you know that design affects our environment and structures our lives; that it protects us and gives us comfort? It also provides us with entertainment and communicates social issues and awareness campaigns. Furthermore, design also develops, introduces and advertises new
Design affects almost every aspect of our lives
products so that we can make informed choices. It is because of design that you and I can communicate who we are through our own identity and style. We determine our identities through the choices we make, the clothes we wear, our choice of music, hairstyle, and choice of shoes and jewellery, just to mention a few. In the same way, a business or brand has its own identity and look and feel or style. We call this a corporate ID or identity. The creative industries play a valuable role and
people
who
use
their
creativity,
innovation,
conceptual and problem-solving skills to develop top-quality products provide us with what we need on a daily basis. In other words, design provides and adds great value to services, systems, processes and environmental sectors.
Creativity can make a better world Design education can develop discerning consumers and top-quality entrepreneurs and creators of products, services, systems, processes and environments
Design definition: to create a detailed plan of a structure of something, focusing on the appearance, convenience and efficient functioning of final design; to make something in a skilful way; to invent something for a particular purpose; a drawing or graphical representation with the purpose to indicate function or how to assemble or make it; to communicate, order and make information accessible; to develop a product, system, process, service or environment.
5
WHAT IS DESIGN?
6
WHAT IS DESIGN?
11
14
12
10
15
13
7
19
23
16 20
17 24 21
18
25
26
22
WHAT IS DESIGN?
8
WHAT IS DESIGN?
27
28
29
30
31
32
33
9
Activity 1
Exercise Find a picture of an interior (preferably without any human, animal or organic objects) and a black kokipen. The picture could come from an interior magazine or any other resource brought to class by you or your teacher. Use the kokipen to black out everything in the picture that could be classified as design or has been created by a designer.
Activity 2
Can you recall and make a list of all the objects and products of design you use in the first hour of your day? Lets have a closer look and explore how design touches our everyday lives. All these objects had to be designed by someone, and from time to time also redesigned to match our constantly changing lifestyles, trends, new technology and even basic human needs.
Exercise - Line drawing

Collect all the items you use during the first hour of your day. Of course, it wont be possible to collect everything because of their size. Organise these objects in order of use. This way you can create a visual storyline of the first hour of your day. Now take one A4-size paper and carefully do a line drawing of each object, one object per page. You may use either a pencil or a pen (a 2B or 4B pencil will be best but you can also use a HB pencil). Practise the following: a) Carefully look at your object from different angles and then decide from which angle you want to draw it. b) Now, look at the blank space you have on the A4 piece of paper and carefully plan how and where you will start your drawing. It is fine if you eventually realise that your object will not fit onto the page.Complete the drawing and try again with the next object. You will keep improving if you keep trying. c) Slow down; do not rush this drawing otherwise you wont develop vital observational skills. Try to spend at least 3 minutes on each drawing. Drawing a comb might not take as long as drawing a shoe or a hairdryer. Al depends on how simplistic or complicated the object is. d) Try to spand more time looking at the object while drawing, than at the paper you are drawing on. e) While you observe all the details of your object, also take note of how the light falls on the object and where you find shady darker areas. Now try to manipulate your control over the use of the pencil/pen/drawing tool. Release pressure on your pencil/pen when you draw a part of the object that has a lot of light and seems to be lighter and brighter in colour. The opposite is true when you do a line drawing of a darker shady area. Increase the pressure on your drawing tool so that you can draw a darker line to indicate where the shady areas are. f) Sensitive line drawings as described in e) are vital for further development of your drawing skills. Make sure that you master this! g) Dont draw what you think the object looks like. Really draw the shape and other details that you see in front of you. Take your time. This is not something that should be rushed. h) Try and fill the A4 page. Do not draw a miniature version of your object. After you have completed all the line drawings of your objects, place all your A4 drawings in chronological order or timeline and tell the story of the first hour of your day. Well done, you have now created your own visual storyboard. Note that every single drawing will count towards your drawing mark. See examples of line drawings on pages 5355.
WHAT IS DESIGN?
Activities for learners
10
Activity 3
WHAT IS DESIGN?
Design ... a. affects our environment and b. structures our lives, c. protects us and d. gives us comfort, e. provides us with entertainment, f. communicates social issues and awareness campaigns, g. develops, introduces and advertises new products so that we can make informed choices, and h. develops an identity Exercise Find and collect pictures or provide other visuals like photographs or drawings to support the above statement. Try to find as many different examples as possible and discuss your findings with your peers.
Activity 4
Design education can develop discerning consumers and top-quality entrepreneurs and creators of products, services, systems, processes and environments.
Sun Stassen, Creative Consultant and Design Activist
Exercise Find visual examples or have a class discussion to support the above statement and explain the value of design in the sectors of: a. products d. processes b. services e. environments. c. systems Did you know... that the Hysucat hydrofoil support system for catamarans was designed by a South African, Dr KG Hoppe? This system consists of hydrofoils that span the tunnel between the two hulls of a catamaran to add greater stability creating a smooth and gentle ride through waves. This system has made phenomenal inroads in the international market especially in the luxury private yacht market. The prototype, a 5,6m catamaran, designed by the Bureau of Mechanical Engineering at the University of Stellenbosch, was ready in 1983 and has undergone water trials that were highly successful.
(Design for water sport and transport) Publication: Thirty Years of South African Design Excellence. See details on page 336 if you want to have your own copy.
Activity 5
Using the same lists provided in activities three and four, let us have a closer look at the pictures (pictures 1 33) on pages 4 8 Carefully look at the pictures and classify each using the lists provided in the two activities. Then indicate your classification and circle it on the grid provided on the next page. Did you know... that one of the leading pool cleaning devices in America, product Aquanuau sold under the trade name Poolvac, was originally designed by four South Africans, JN Raubenheimer, AP Wessels, D Rief and H Schlitzer in 1984? (SA Company: Aquanaut (Pty) Ltd). This is just one example of many South African products that have been bought out by American interests.
(Design of system which provides a service) Publication: Thirty Years of South African Design Excellence. See details on page 336 if you want to have your own copy.
11
Picture No.
Activity 3 (see page 9)
Activity 4 (see page 10)
2 a b c d e f g h a b c d e 3 a b c d e f g h a b c d e 4 a b c d e f g h a b c d e 5 a b c d e f g h a b c d e 6 a b c d e f g h a b c d e 7 a b c d e f g h a b c d e 8 a b c d e f g h a b c d e 9 a b c d e f g h a b c d e 10 a b c d e f g h a b c d e 11 a b c d e f g h a b c d e 12 a b c d e f g h a b c d e 13 a b c d e f g h a b c d e 14 a b c d e f g h a b c d e 15 a b c d e f g h a b c d e 16 a b c d e f g h a b c d e 17 a b c d e f g h a b c d e 18 a b c d e f g h a b c d e 19 a b c d e f g h a b c d e 20 a b c d e f g h a b c d e 21 a b c d e f g h a b c d e 22 a b c d e f g h a b c d e 23 a b c d e f g h a b c d e 24 a b c d e f g h a b c d e 25 a b c d e f g h a b c d e 26 a b c d e f g h a b c d e 27 a b c d e f g h a b c d e 28 a b c d e f g h a b c d e 29 a b c d e f g h a b c d e 30 a b c d e f g h a b c d e 31 a b c d e f g h a b c d e 32 a b c d e f g h a b c d e 33 a b c d e f g h a b c d e
How can you start to develop conceptual skills and why is it so important if you want to become a good designer?
Because good design is about the ability to communicate a message, concept or idea successfully in a visual way, it is vital that you develop conceptual skills. You must know how to manipulate and apply the design elements like line, colour, texture, shape and tone so that they can successfully communicate the mood, look and feel, style or character that will
be the most attractive, relevant and useful to your target market. This sounds very abstract and it is. At this early stage of your studies in design, you might find yourself even confused and that is okay. We never promised that design was going to be easy. The only thing we can promise you is that it is a lot of fun. Conceptual skills are extremely difficult to explain but once you understand and can apply them successfully, you can become a brilliant designer. Lets see if we can help you to get to grips with some of the basics so that you can develop your conceptual skills.
WHAT IS DESIGN?
1 a b c d e f g h a b c d e
12
WHAT IS DESIGN?
We all use expressive words like abstract nouns or adjectives, for example, bold, extravagant, cool, funky, classical, sleek, etc. to describe an experience or even a product. And what about emotions like anger, passion, love and excitement? How would you communicate any of these emotions through a design if you are only restricted to the use of colour, line, texture, shape or tone? No words and no obvious shapes that people usually associate with these emotions may be used. In other words, if you have to express the feelings and emotions of being in love, you are not allowed to express these through the use of the obvious like a red heart or a love cupid. You may only use textures, shape, colour, line and tone to express the abstract quality of being in love. 3
Another way to explain this is to look at different products or objects. Try to write down words that you think describe the look and feel of each product or object. Ask yourself: is that object or product cool, funky or bold? Does its character or style contribute to the way you react to the product? Is it the shape, the colour, line or the texture? As a young designer you need to be able to first identify and understand the characteristics and style of a product. We certainly dont all like the same stuff and if you can manage to understand this and most importantly the reasons why, it will also give you more insight into the likes and dislikes of the target market those different products will appeal to. 4
13
Lets see if you can manage the rst steps in developing your conceptual and visual literacy skills.
Divide into pairs. Choose any 3/4 visuals (no. 1-7) on these two pages. Describe the mood/look and feel of each visual to your friend without revealing the number or the most obvious visual qualities. See if your friend can identify the correct visual. Swap and repeat the process.
WHAT IS DESIGN?
14
Lets see if you can put your conceptual skills into practice WHAT IS DESIGN?
Activity 6
The following project can be used to measure your level of competency in terms of conceptual skills, your understanding of a 3D and 2D shape, creative use of a variety of materials, technical skills and your ability to communicate through the manipulation of line, texture, shape and colour.
Step one
Design process: Do the following in your design workbook. 1. 2. Select five different emotions/abstract nouns and write them down. Opposite each emotion write or draw what you think communicates and emphasises each emotion: colours shapes textures, like smooth, woolly, velvety, glossy, etc. materials, like sandpaper, nails, wood, wire, plastic, etc.
EMOTIONS COLOURS TEXTURES SHAPES/FORM
MATERIALS
1. 2. 3. 4. 5.
Step two
The project brief -
The Ice Breaker
Design and make a three-dimentional structure that will communicate ONE of the above emotions that you have listed. Your 3D structure may not be a literal interpretation. For instance, you may not use a cupid or heart to communicate love nor may you use a fist or a knife to communicate anger. You may only use colour, shape and texture to communicate the emotion. No words may be used. It is the successful combination of the design elements (line, colour, texture and shape) and your choice of materials that will determine how successful you are. Draw a variety of options for the 3D structure and discuss them with your peers and your teacher before you make your final choice. Once you have made your final choice, carefully plan your method and order of construction and list the materials you will need.
The production process: The production of the 3D structure needs to be carefully documented in your design workbook. You may also use sketches and inspiring photographs or other resources as part of your documentation. In conclusion, finally give your masterpiece a title and exhibit it with the work of your peers. Discuss and compare technical skills, materials used and the success of your piece.
15
Self-assessment
Tick the appropriate block
CHECKLIST
How do you rate this projects level of difficulty? How do you rate your own conceptual abilities? How do you rate your technical abilities? How do you rate your problem-solving skills? How do you rate your innovative abilities and originality? How do you rate your time-management skills? How do you rate your creative use of materials? Rate your documentation abilities and design workbook Rate your own success
Low
Medium
High
A good designer has a strong work ethic, is a strategic planner and someone who is hungry for knowledge and continues to learn
Did you know... that the Buttery Backpack frame was designed by a South African, E Byrne in 1976? You might not know this but before 1976 the frames of backpacks had straight horizontal bars across the shoulders and hips that denitely did not contribute to comfort. You can imagine how the Buttery design, which has the same prole as the human spine, improved the user quality and comfort of its bearer. The frame was also made out of aluminium that added to the lightweight quality of the backpack. A horizontal strip of padding was also added so that the weight of the pack can take strain off the back and rather place it on the hips. About 200 000 frames have since been produced, mainly exported to Europe. The same company was also responsible for designing the rst stitch-less sleeping bags.
(Company: Sit n Sun Products (Pty) Ltd, later known as Three Spears Africa (Pty) Ltd) (Design for sport and recreation; choice of materials and ergonomics play a vital role) Publication: Thirty Years of South African Design Excellence. See details on page 336 if you want to have your own copy.
WHAT IS DESIGN?
16
WHAT IS DESIGN?
Activity 7: Essay writing

1. 2. 3. 4. 5. 6. Give a title to the above 3D structure. Identify the mood or look and feel of this piece. Use abstract nouns to describe what you see and feel. Identify the materials used and method of construction. Motivate your answer. In line with your given title, motivate the choice and use of materials, shape, colour, texture and line. What do you think of this 3D piece? Motivate your answer.
Some qualities of a good designer

A champion designer
has a strong work ethic, perseverance, is disciplined, is self-motivated, leads by example, is a problem solver, is a strategic planner, is a conceptual and creative thinker, is innovative and thinks out of the box, is an effective communicator of ideas and able to deliver within strict deadlines, is someone who can work well with others, is socially and environmentally responsible, designs to improve the
life standards of others, develops perceptual skills and sensory awareness, is reective reviews and revises ideas and solutions is someone who strives to develop high-quality products, understands the importance of a strong business structure, is someone who can identify with a variety of target markets, is someone who is hungry for knowledge and continues to learn. Take all the key words and place it in a place where you can constantly remind yourself to develop and work towards developing these qualities.
An example of the Ice Breaker done by a Grade 10 learner
17
The Design Process
awareness of it but certainly the execution thereof. During the design process a designer allows himself/ herself time to interpret and understand the given brief, followed by stages of exploration, identification, experimentation, investigation, conceptualisation, analysis and evaluation. It is also important that the designer is a good organiser so that all the research and information collected is documented in an orderly manner. If a designer does not follow or implement the design process he/she will not have collected enough information and will not have achieved enough understanding Identify need Identify problem Identify opportunity Schedule design process Investigate context of design problem Investigate different approaches Generate ideas to solve problems Investigate variety of methods Produce samples/ prototypes Plan production process
and their needs, nor would they have given themselves enough time to explore and experiment so that they can identify the best practice or materials and manufacturing process for the project at hand. In short, without the design process the project would fail and the designer would more than likely lose the client and in the long run their business. Familiarise yourself with the following pointers and make sure that the design process is always a priority and without fail part of every project you do LEVEL 1 Identify / receive LEVEL 2 Plan LEVEL 3 Gain enough knowledge LEVEL 4 Experiment and select best options LEVEL 5 Prototype and improvements LEVEL 6 Production and presentation
Brief from client
Collect, analyse, organise, interpret, acknowledge relevant info Investigate appropriate materials and production techniques
Evaluate and suggest improvements Produce product; system; service; environment
Select best idea/ solution Reflect on end result
1. Design brief content, process, end use, purpose and functions, target market dened and presented by client. 2. Design schedule ask client the details of timeframe given to you; identify time needed for each section of design; plan and implement a timeline which clearly indicates goals throughout project so that deadline is met. 3. Design context identify then investigate design problem; process led by nding answers for what, where, to whom, why and how. 4. Design ideas collect, analyse, investigate, explore, experiment, conceptualise making use of a variety of methods like brainstorming, sketching, documenting. 5. Appropriate materials, production tech-
niques and sample/prototype through experimentation and evaluation identify the best materials and production process to ensure the best success rate of your design product; produce a variety of proposed prototypes/design ideas or concepts. 6. Evaluation test and evaluate design ideas and/or prototypes, make suggestions and improvements in order to identify the best design solution. 7. Final production strategise timeline and details of your production process and produce your product, system, service or environment within the time given by the client. For your own credibility as a designer it is vital to deliver on time.
WHAT IS DESIGN?
The design process is of vital importance. Not just the
of the brief, the client, the profile of potential consumers
18
WHAT IS DESIGN?
The impact of design and creativity in the early developmental stages

Design and creativity play a vital role in the early developmental stages of every child. This is a fact that is not even debatable. Although toys and games are huge money-spinners, it is the educational value and qualities added to the early development of a child that make this industry so valuable. Most parents want the best for their child. Pre-school development is seen as vital to prepare children for school. During these early stages and at different age groups, a child needs exposure to very specific activities in order to develop, for example, their motor skills, numeric and literacy skills, coordination skills and role-playing skills, just to mention a few. The world is already so competitive. Parents and experts believe that they need to prepare children so that they can
develop their full potential. Toys and games are used to teach the child how to focus, to think creatively, to problem-solve and be innovative, to strategise and to develop their imagination. These are all life skills that we want toddlers to develop so that they can be better equipped when they eventually go to school. It is also a fact that these skills will equip them for success in all subjects. We say learning is more effective through play. In the medical field, toys and games are continuously used and are seen to be most effective when used with children with learning difficulties and other developmental problems. Game playing can also be used to rehabilitate patients with different needs.
Did you know... every day more money is printed for Monopoly than the U.S. Treasury?
Examples of educational toys for pre-schoolers
We should continue to foster the development of every child and use creativity and design as a valuable tool to do so. These skills could greatly improve learning in all subjects
19
WHAT IS DESIGN?
20
Playing cards
WHAT IS DESIGN? Did you know...
Each king in a deck of playing cards represents a great king from history. See if you can spot their differences and similarities in the visual examples below. Spades King David Hearts Charlemagne Clubs Alexander the Great Diamonds Julius Caesar
21
Psychologists, doctors, and many other experts in the field of child development will agree on the importance of toys as a tool to enhance developmental skills. What we find very interesting are the tools that are used to develop these skills. These toys or games all had to be designed by someone so that these much needed and specific skills could be developed. This industry is a very good example of how design is being used for social and skills development. Despite the fact that so many people agree on the
importance of early development, using tools and products that are designed for this purpose, it is an ongoing struggle to convince people about the importance of design and the value it can add to further development. It is also a struggle to convince some that creativity and the design subject or career path is an intellectual activity that includes innovation and problem-solving skills. We should continue to foster the development of every child and use creativity and design as a valuable tool to do so. These skills could greatly improve learning in all subjects.
WHAT IS DESIGN?
22
Activity 8
WHAT IS DESIGN?
Remember the design process is always This can be a lot of fun! Let us see if you can think of your own creative ideas to help the development of a young child. You may focus on any age group, but it is vital that you understand that the age group you choose will thus also be your target market. You therefore need to first investigate that age group so that you know for whom you are designing and what their specific needs, likes and dislikes are. Choose your target market. Then choose any developmental skills from the following list that you want to incorporate into your own original design. Decide what your focus will be: choose any developmental skill as listed previously. You may choose more than one. It will all depend on the age group and the skills needed at that specific age. Consider your research and make a variety of sketches so that you can make the best choice for your final design. For feedback, discuss with your friends and teacher before you make your final choice. Select suitable materials to construct your final product. Although you might not have learned about logo design yet, why not find a suitable name for your product. Remember that all your choices, even the look of the letter type in a name, will play a role in the look and feel of your final product. How do you know if you have been successful? Self-assessment and reflection If you are bold enough, you can even attempt to design the logo for your product and include the instructions on the use of your product, toy or game. Depending on the age group, these instructions can include the rules of a board game or how to build and construct something, which could then also include a line drawing, graphical representation or technical drawing that will visually communicate the method of construction. Write a report on your findings and rate the success of your product. It is important to know if your product is successful. The best way to find out is to use your target market and let them play or interact with your product. You might find that you need to make a few changes; make the adjustments before handing in your final product. Do your research and find out everything you can that is of relevance to the age group you have selected. Identify different ways to collect this information. before the production process!
Developmental skills for life

Literacy or language skills, which can include learning how to talk, spell and read, or just recognising and naming simple shapes, animals, plants or sounds Numeracy skills, learn to identify numbers, how to add, subtract, multiply or divide Role playing, which could include a number of situations or environments Coordination, which could include ball coordination or balance Motor skills are actions that involve and devlop the movement of muscles in the body
How about a logo for your product and adding instructions on how to use it?
23
Interesting examples
The following three designers are examples you might not have considered to be involved in design before. While reading through the text, make a list of how you think these designers, and design as such, have an impact on different environments and how they are changing peoples lives on a daily basis.
The Automobile Stylist
An interior designer for the automobile industry. Responsible for exterior and interior colour choices as well as the choices of texture, line, shapes, materials, etc. for the interior. Oona Scheepers, a local girl from Prieska, a small country town in SA, who originally studied Graphic Design, currently finds herself in the fascinating world of automobiles. As a stylist, she believes that every line has a function, a rule that has proven to be the golden one that she lives and designs by. In the very competitive industry of automobiles, she is competing with the best that the world has to offer and finds herself in very good company. She has played an important role in the design of the following products: Porsche Carrera GT, Cayenne and Cayman, as well as the Audi R8, A5 and A4 and the recent Audi show cars.
Read more about Oona Scheepers and her interesting career: http://issuu.com/designinformation/docs/design_education_no_3/14? Video: Oona Scheepers shares her venture into the automotive design industry while she visited SA to launch the new Volkswagen Polo. As a lead designer for rst Porsche, then Audi and nally Volkswagen, she explains the deeper details of this industry.
Question:
What
materials,
shapes, line and colours would you select to communicate that a car is sporty, progressive and sophisticated? An example of what an automobile stylist has to consider. Also note that they have to make these choices many years before the product is on the market and thus have to predict colours, textures, shapes and lines that will not be outdated by the time the product is released.
http://www.designindaba.com/speaker/presentation/oona-scheepers-2008
WHAT IS DESIGN?
As a stylist, she believes that every line has a function
24
WHAT IS DESIGN?
25
The Industrial Designer
Tucker Viemeister is an Industrial Designer. If you look at his impressive career that includes 32 U.S. utility patents, you cant help but understand why Business Week calls him a design Guru. He is also the founder of Smart Design, where he helped to design the widely acclaimed OXO GoodGrips universal kitchen tools. Today it is vital for all designers to become even more responsible in the choices they make. These choices could include materials used, attention to ergonomics, method of production and execution of the original concept, and the constant awareness of the need to limit waste products, just to mention a few. These choices could hugely impact on the environment and social responsibility issues. In the world of product/industrial design, every designer strives to develop that ultimate product that they can patent and make lots of money with. What is interesting about Tucker Viemeister is the way he incorporates and combines the fun element with being responsible in a business and cultural context. Originally the OXO GoodGrips were inspired by the difficulty people with arthritis have in holding kitchen appliances. Having explored this problem, he redesigned the handles and developed a variety of good grips that ultimately provided more comfort not only for people with arthritis but for all its users.
http://www.oxo.com/s-21-good-grips.aspx
Today it is vital for all designers to become even more responsible in the choices they make
http://en.wikipedia.org/wiki/Tucker_Viemeister
http://smartdesignworldwide.com
OXO GoodGrips logo
Garlic press
Peeler
WHAT IS DESIGN?
Using his creativity, this designer is making a difference in peoples lives
26
Another Industrial Designer WHAT IS DESIGN?
The man who pioneered the way in which we communicate and do business today.
Bill Moggridge, a co-founder of IDEO, was one of the first to incorporate human factors into the design of hard and software. His company, IDEO, plays a vital role in providing guidance and assistance to other companies who would like to innovate through the design of their products, systems, services, environments and through digital experiences. Can you imagine how great the demand is for this company? If you think about a global demand of a huge variety of products that constantly satisfy our ever-demanding human needs, its no wonder IDEO have offices in London, New York, Shanghai, Munich and Chicago, to mention just a few. This phenomenal designer was also the first to design the laptop computer. Would you consider this designers contribution to human demands a drop in the ocean or a universal phenomenon? We think it is definitely the latter. The laptop computer is just another great example of power generated through design, innovation and creativity.
http://en.wikipedia.org/wiki/Bill_Moggridge
http://www.designinginteractions.com/bill Video: Lecture by Bill Moggridge http://www.youtube.com/watch?v=kVkQYvN4_HA The company IDEO: http://en.wikipedia.org/wiki/IDEO http://www.ideo.com/
Bill Moggridge talks about Service Design: http://youtu.be/wwiae9-c0K0
Sharing design knowledge this is the way Bill Moggridge thinks of sustainability, health and well being, social innovation and the rest http://youtu.be/xeI2Baq6XaY
Can we use design to make life more interesting? Chris Waugh answers this question in the area of designing for well being: http://youtu.be/rvqcS6-7tNc History of the laptop: http://en.wikipedia.org/wiki/Laptop David Kelley talks about human-centred design: http://www.ted.com/talks/david_kelley_on_ human_centered_design.html
First laptop
27
Denition of industrial design

WHAT IS DESIGN?
Industrial designers are a cross between a mechanical engineer and an artist. They study both function and form, and the connection between product and the user. They therefore have to identify and fulfil needs, wants and expectations. Industrial design is the professional service of creating and developing concepts and specifications that optimise the function, value and appearance of products and systems for the mutual benefit of both user and manufacturer. One of the many accepted definitions of design originates from Carnegie Mellons School of Design: Design is the process of taking something from its existing state and moving it to a preferred state. Inventors and engineers think of the idea and make it work. Industrial designers are concerned with the look, feel and usability of the object. Only after industrial designers make an object safe, attractive and functional is it mass produced by factory workers and machines. Remember the changes brought about by the Industrial Revolution in the making of functional objects (the move from individual artisans and craftspeople to mass production). The career of industrial design came about as a result of these changes. Mass-produced goods needed to have mass appeal to sell in large quantities. Artists were needed to design products that would appeal to many people. Almost every factory-made object has been designed or planned by an industrial designer. These designers: make detailed drawings of 3D objects to show sizes, shapes and textures of the product. specify the materials and will often also make models or prototypes of the product for testing. try to anticipate all the ways a person might use or misuse the object. are artists.
It is their job to make products look good because as Raymond Loewy, an influential industrial designer, said:
Ugliness doesnt sell
2. Introducing the four main categories of the creative industry
Visual Communication/ Information/Graphic Design Surface Design (2 dimensional) Product Design (3 dimensional) Enviromental Design
* More examples in the Woolworths Making the Difference Through Design Daily resource manual
28
Visual Communication/Information/Graphic Design
includes, but is not limited to, sectors such as advertising design, animation, digital design, film and
Visua Communi catio Desig

How big is Barbie? Article on Monkeybiz www.monkeybiz.co.za http://issuu.com/designinformation/docs/design_ed_1/94?
WHAT IS DESIGN?
video, graphic design, brand communication design, illustration, information design, packaging design and applied photography. Take note of the different styles of type used on each example of product, brand or logo in this section and just generally around you. You will note that typography plays a vital role in brand identification. Imagine changing Coca Colas type to the style used on the Marmite bottle on the opposite page. Changing type can have a huge impact on the brand and is usually a very risky business. If a wellknown brand decides to make such drastic changes, it is usually highly calculated and based on the results of intense impact studies. You will learn more about typography in Module 2.
Carrol Boyes www.carrolboyes.co.za http://issuu.com/designinformation/docs/design_15_v3/254?
Logo/Brand design
Packaging design
Information design
al ion n
29
Tastic packaging design: designed by Garth Walker from Orange Juice Design
Information Design
Did you know... that Coca-Cola was originally green?

David Butler is currently the man responsible for leading the global design vision and strategy of Coca Cola. Have a look at the following link: http://en.wikipedia.org/wiki/Coca-Cola http://www.designindaba.com/news-snippet/design-scale-di2011
WHAT IS DESIGN?
30
WHAT IS DESIGN?
i-jusi published in 1997 designed by Garth Walker: www.ijusi.co.za
31
(Design for specic needs for sporting goods) Publication: Thirty years of South African Design Excellence. See details on page 336 if you want to have your own copy.
An animated short called Jungle Beat, designed for Sunrise Productions by Rowan van Tonder
WHAT IS DESIGN?
Did you know... that the Snake Board (skateboard) was invented and designed by South African designer trio R Clausen, B Clausen and G Clausen of Clausen Plastics (Pty) Ltd in 1993? Anyone who belongs to the skateboard culture will know that a Snake Board is a skateboard with a difference! The choice of the correct materials, to provide strength under extreme stress and still provide the sportsman with all their needs, was vital. Zytel ST901, a V-shape cut insensitive nylon, is a light-weight material with outstanding impact, stress crack and shock resistance qualities with enough exibility. The Snake Board can reach a speed of 18 km per hour on a at surface and an astonishing 35 km per hour downhill.
32
WHAT IS DESIGN?
Surface Design
(2 dimensional)
33
Surface design (2 dimensional)

(usually two-dimensional) focuses on sectors and applications such as appliqu, embroidery, beadwork, mural design, stained glass, tapestry, textile design, weaving, ceramics like tiles, graffiti, mosaic, gift wrap design, wallpaper design, fibre design, fashion. Note: any surface design may be developed into a product.
WHAT IS DESIGN?
34
WHAT IS DESIGN?
Product Design
(3 dimensional)
35
A good designer is someone who understands the importance of a strong business structure and strives to develop high-quality products
WHAT IS DESIGN?
36
Product design (3 dimensional)

WHAT IS DESIGN?
(functional or decorative and usually three-dimensional) can include industries and applications such as basketry, beadwork, carving and wood turning, ceramics, fashion and costume design, industrial design, jewellery design, paperwork, puppetry, wirework, furniture and glass blowing/design, constructed textiles, tableware.
Below: A quirky and playful light source designed by sculptor Brett Murray
37
WHAT IS DESIGN?
38
The design of boats creates transport as well as other recreational means for many people
WHAT IS DESIGN?
Examples of jewellery design done by high school students
Designed by Nena Kotze
Designed by Michael Albertyn
Designed by Michael Albertyn
39
Fashion products on show at the annual International Design Indaba in Cape Town
http://www.designindaba.com/expo
http://vimeo.com/11807772
WHAT IS DESIGN?
40
WHAT IS DESIGN?
Environm Design
A good designer is socially and environmentally responsible and designs to improve the life standards of others
41
A public sculpture adds great value, style and atmosphere to our environment
The Teatro foyer at Monte Casino
mental
The interior of the Teatro at Monte Casino
Huge decorative oats, mostly made from waste materials and found objects, designed for the Rio Carnival in Brazil
WHAT IS DESIGN?
42
WHAT IS DESIGN?
What do bulletproof vests, re escapes, windshield wipers, and laser printers all have in common? All were invented by women.
Environmental design
includes industries like architectural design, urban and landscape design, display, event or exhibition design, interior design, theatre and set design, interior decorating.
The above picture of Cape Town is a good example to show how design inuences and structures our environment. One can clearly identify the layout of the city, urban planning, architecture and even some of the layout of transport like the roads and railway lines. http://www.creativecapetown.net http://www.capetown2014.co.za Design in the central city: http://www.creativecapetown.net/design-in-the-central-city
43
Architecture and civil engineering structures
Theatre and set design, costumes, props, choreography and music are part of the creative industry that provides us with entertainment and culture.
WHAT IS DESIGN?
44
Huge decorative oats designed for the Rio Carnival in Brazil
WHAT IS DESIGN?
45
Design jobs and careers Every man-made object can be classified under product design. What we do with it, determines the other three design categories.
Product design includes jobs such as basketry, bead workers, carvers, wood turners, mural designers, stained glass designers, ceramic designers, fashion/costume designers, industrial designers, jewellery designers, paper workers, wireworkers, furniture and glass-blowers. Careers at engineering companies, industrial engineers and designers developing new and interesting products for the consumer market from vacuum cleaners to teaspoons. Environmental design includes industries like architectural designers, urban and landscape designers, visual merchandisers, event managers or exhibition designers, interior designers, theatre and set designers, interior decorators and even sculptors, especially when we look at public sculptures and land artists. Designers can be in service of the private sector, corporate companies or even municipalities for community and regional planning. Places to look for a career in design after graduation in architecture might include architectural firms, engineering firms, architectural units within engineering firms, construction management firms or design/build firms. Also cultural and historic resource organisations, design sections of contracting companies, facility departments within private corporations, hospitals, universities and colleges. Municipal and state offices that have building codes and inspection agencies, municipal and state offices that have planning, urban design or architectural divisions are also opportunities for the architect. Architectural firms, corporations, institutions, and other multibuilding owners, interior design firms, product manufacturing companies, computer-aided draughting speciality, contract
Most of these career opportunities are also applicable to the careers in the surface, visual communication and product design sectors. Surface design includes jobs such as appliquers/embroiders, bead workers, mural designers, stained glass designers, tapestry designers, textile designers, weavers, ceramicists, graffiti artists and mosaic designers. Designers will work in a textile, interior, decorating and lifestyle environment. Individual assignments for the corporate industry are also a possibility. Dcor journalism, lifestyle exhibitions, fashion industry and architectural industry offer challenging career opportunities to the talented designer. Visual communication design includes careers in advertising, animation and digital design, film and video, graphic designer, brand communication designers, illustrators, information designers, packaging designers, photographers, multimedia designers and web designers. This can be done as a freelance designer or within a formal job structure at a large private or corporate company, or small business outlet or agency. All businesses need to have a marketing division or an ad agency that does marketing, branding and advertising campaigns on their behalf. Every business needs at least a name or recognisable logo and identity. Graphic design as a career and the role of the advertising agency as visual communicator, will be discussed in more detail in module two.
Activity 9
Find and collect pictures or other visual examples to explain the diversity of the following four categories that represent the creative industries: Visual communication Product design Surface design Environmental design
WHAT IS DESIGN?
(commercial) design, design presentation speciality, design project management, facilities design and management, furniture design, health-care facility design, interior design business management, interior illustration or photography, kitchen and bath design, office systems design and sales, product manufacturing sales, residential design, retail design and transportation design. Lighting design, restoration or historic preservation, theatre, movie, or television set and scene and prop design, university or college teaching and research and administration.
46
WHAT IS DESIGN?
Elements of design
3. Introducing the Elements of design
Lets have a look at what all this fuss is about and how you, as a young designer, can learn to become the best you can be. The complete understanding of the following elements and design principles are vital for the success of any design.
Elements of design: your design ingredients
Line/dot Shape and form Texture Colour Tonal value
Without these elements a design is no more than a blank page. The design process is how you choose to structure, make or create and combine the above elements. This will determine your level of success. But before you can achieve this, you have to understand and explore all possibilities, how each of these elements can be used and manipulated and eventually be used to visually communicate your idea, concept, style or message.
LINE
Defined as the result of the action made by an instrument such as, for example, a pen, pencil, crayon or stick
So what does your handwriting, two dots on a blank page and a communication tool have in common? The answer is line. Remember that any line originally starts with a dot and through using continuous dots, one can create the illusion of a line.
A single line can reflect a specific quality, character or texture. It can be wavy, straight and heavy or light, to mention just a few. It all depends on how the line is manipulated by you and the care that is taken to execute it. This can be achieved by varying the pressure you apply on your drawing tool (pencil or pen). If you can master the different qualities of line through the careful and sensitive use of, for instance, a pencil, you will seriously equip yourself with a powerful communication tool.
47
Did you know... that your handwriting is an example of controlled line?

Although many of us are not equipped to understand all languages, many symbols can be classified as a universal language understood by all, no matter their culture or literacy skills. At this point, we can clearly distinguish between the power of the written word and the power of visual language like that of a symbol and the visual message it carries. Use the 4 examples below and write down the message you think each communicate. *Also see module two on The history of symbols and visual communication Different qualities you can achieve with line LINE LINE controlled spontaneous mark-making loose fine bold varied crisp outline expressive fluid linear Different qualities of line 3.
1.
2.
4.
Line can express emotions and states of mind through, for instance, its character, direction and movement: Horizontal lines can express a calm and restful feeling. Vertical lines can suggest spirituality. Diagonal lines can suggest movement and speed. Horizontal and vertical lines in combination can represent stability and solidity. Deep curved lines can suggest turbulence. Soft curved lines can suggest comfort, safety, relaxation. Descriptive lines/outlines or contour lines define edges and suggest shapes. Sensitive contour lines can even suggest weight, volume and form. Hatching and crosshatching of individual lines creates shadows and tonal values that suggest the 3D quality of a form. Increasing the number of lines will create a darker tone. Repetition of line develops a decorative element to a design and can therefore also suggest rhythm and movement.
Activity 10
Exercise
Take an A4 or A3 piece of paper and divide the paper into 10 equal blocks. Use each block and draw all the line qualities discussed above. You may use any drawing tool but make sure that you understand exactly how you want to manipulate this tool to show all the line qualities. For instance, you will certainly draw the quality of a deep curved line that can also suggest turbulence differently than the quality of the soft curved lines that can suggest comfort, safety and relaxation. Try it. This is not going to be an easy activity, but you will learn a lot about how far you can push your drawing tools and at the same time you will continue to develop your drawing, conceptional and observational skills.
WHAT IS DESIGN?
Let us take you back to the beginning of civilization. Before the existence of the universal alphabet, line was used as a means of communication between people. At first the mark or line was probably very uncontrolled, much the same as when we as young toddlers discovered that we can make a mark with a fat crayon on exactly everything we were not supposed to. As we developed further, we learned to combine a variety of lines so that we could draw shapes. Then came our awareness of symbols and we learned to draw characters, letters and numbers.
48
Lines are all around us. We find line in nature, in shadows, buildings and even when we look at urban layout (the way a city or town is laid out), we will find a lot of line. Even the way we sometimes repeat the same object
WHAT IS DESIGN?
can create a linear display or a pattern. Many designers make use of line to decorate the surface of their objects. Line is also used to create perspectives. Architects, interior and industrial designers use many perspective drawings to indicate the depth of a space or surroundings, or a linear perspective of a 3-dimensional shape. In this way, we can use line on a 2-dimensional surface like a piece of paper and create a 3-dimensional perspective so that the viewer experiences a 3-dimensional shape even without the use of shading. A two-point linear perspective is a drawing with two vanishing points, while a one-point perspective only has one vanishing point in the composition. A vanishing point is used in a linear perspective and suggests a point on the horizon where parallel lines meet in the distance. In general a linear perspective drawing can project 3D quality and depth. Objects that are further away are smaller while those closer to you are bigger. Some classifications of line 1. Expressive/emotional line communicates emotions and expressions of the artist or the subject matter. It can also be spontaneous and can tell you a lot about a persons state of mind. It can be loose, gestural and show a lot of energy. 2. 3. Structural line adds a descriptive quality that suggests surface quality of an object as well as volume, especially in the case of a 3D object. Calligraphic line or calligraphy is the art of decorative writing. Originally, it was also referred to as signatory line, as it was associated with the individual signature or style of writing used by monks many years ago, when they were responsible to commit the word of God to paper. The monks added a very decorative style to the lettering. Later this style of writing became known as Gothic, which was the original form of European calligraphy as we know it today. In general calligraphic lines are characterised by elegance and flowing qualities as one would find in handwritten script. 4. Construction lines are used when you need to accurately show perspective and proportion in a drawing for constructing something at a later stage. To be able to do this correctly, you just need to imagine that the object you want to sketch is made of glass, visualising the hidden edges of the object so that you can draw them too. Lightly pencilling in the whole form, including lines you cannot see, will help you accurately show perspective and proportion.
Do you think this drawing is an example of expressive/ emotional line use? Motivate your answer.
A single line can reflect a specific quality, character or texture

49
Two-point perspective drawing. See if you can establish the positions of the two vanishing points.
In this product, made from using wire and beads, it is very easy to see the direction of line and how it can be used to project shape, surface and 3D qualities of an object on a 2D surface.
WHAT IS DESIGN?
Written in Belgium, this picture is an example of a monks calligraphy in a Latin-language Bible of 1407 AD. Today it is on display in Malmesbury Abbey, Wiltshire, England.
50
WHAT IS DESIGN?
Do you think the examples on the left are structural or expressive line drawings, or perhaps both? Motivate your answer.
Pastel drawing using the crosshatching drawing technique
Charcoal drawing using the crosshatching drawing technique

51
1.
2.
3.
4.
5.
6.
7.
8.
Line used in the man-made world

Look around you and see how many lines you observe in your immediate surroundings. Try to ask yourself what function each line fulls. Is the line acting as decoration, or is the direction of the line maybe creating an illusion? Also, see if you can identify the character or emotion that the line is reecting. Does it communicate a feeling of calmness or is it rather more bold and aggressive?
WHAT IS DESIGN?
52
Line found in nature WHAT IS DESIGN?
9.
10.
11.
12.
13.
53
Activity 11
Exercise
b)
Contour drawing Before we start, what exactly is a contour drawing and why is it important for you to learn this if you do Design and not Art? To become a good designer you really need to develop and sharpen your observational skills and attention to detail. So one can say in this case that it is certainly more about learning the habit of observing and having the correct mindset, which in the future will stand you in good stead in reaching your full potential and eventually help you excel in your future career. This is also a vital part of developing your drawing skills, which is as important to develop than any of your other skills. Dont think for a moment that because you do Design and not Art you wont need good drawing skills. To get into any design or architectural school you first need to show off your drawing skills and hand in a portfolio that should include a number of quality sketches. The decision makers make a lot of your potential and abilities by simply looking at the quality of your drawings. This could mean the difference between enrolling into a design or architectural school or not.
A contour drawing is also known as a continuous-line drawing. In other words, once you have placed your drawing tool on the paper you are not allowed to pick it up until you have completed your drawing. You are going to sketch the contour of your object, in this case a green pepper, by drawing continuous lines that result in a drawing that is contorted and or abstracted. In other words your drawing is not meant to look like the real thing. It is more important that you follow the rules. You might think that drawing the contour of your object means to draw only the outline. It is important to note that any 3D object do not only consist of an outer shape or outline. There are actually many shapes within a shape and a contour drawing is supposed to also convey the length, width, thickness and depth of the object; in other words the body and weight of the object. When you draw the contour of a 2D shape, you are drawing the outline of a flat shape, as there is no body to draw! Have a look at the two examples. Lets see how you do with your own contour drawing. Study the examples on this and the next two pages and you will realise that these were all done by using a continuous line. The exercise itself is more important than the end result. Take a green pepper or any other vegetable or fruit, such as a butternut, tomato, orange or apple. We still prefer the green pepper. It has a very interesting shape, detail and a variety of texture on the surface, both inside and out. Cut it in half. Keep your A4 piece of paper and your drawing tool ready. Place the two green pepper halves in front of you and start investigating by looking, and observe all the different shapes, line, detail and maybe even repetitive patterns created by the pips. Make sure that you have placed your halves in an interesting composition in front of you and start drawing. Remember, a contour drawing is a continuousline drawing and you are not allowed to pick up your pencil or pen once you have started to draw. It is more important to slow down and really look at what you are drawing than to worry about what your drawing looks like. So try to avoid looking at your drawing. One way of developing your general drawing skills is to continue doing contour drawings. This will also teach you to draw what you really see and not what you think you see.
WHAT IS DESIGN?
a)
Lets see if you can describe the lines in the pictures on the previous two pages (51 52). Write down the number of each picture (1 13) and see if you can describe the lines: the feelings or emotions you think each line communicates, the lines function, and characteristics. Share your interpretation with your friends and see what they think.
54
WHAT IS DESIGN?
Drawings done by students from Stellenberg High School
55
WHAT IS DESIGN?
56
SHAPES AND FORMS

When you close a line in other words, when the beginning and the end of the line meet and connect you are creating a two-dimensional shape. A shape can also refer to the outline of an object and can only have width and length. Sometimes you can create a shape without an outline. This happens, for instance, when you apply a dot of colour (in this case representing a circular shape) without the presence of an outline. When a shape (2D and flat) is developed into a 3D object, width, length, surface and volume are added and the shape is now referred to as a form. An object or form (three-dimensional) occupies a space and can be man-made, like a tap or a chair, or it can have organic/natural qualities like the forms one would find in nature, for instance, the soft curves of a rose, a leaf or the shape of a stone or shell. Then one can also refer to a free form, which is any irregular shape, usually found in sculpture or decorations, created by fluid (a line that just flows) curving lines. Any form or shape has basic qualities, for instance, it can be 2D (a plane/two-dimensional shape) or Some geometric shapes and forms:
WHAT IS DESIGN?
3D (three-dimensional form) and can be organic or geometric (also referred to as inorganic). A form is more descriptive and refers to the whole object and not just the outline. A form also makes us experience the qualities of a 3D object in its totality weight, shape, texture, height, width and depth. Think of holding and handling a 3D object in your hand, like a shell. To be able to project a 3D object on a flat surface (like paper), we need to use tone (from light to dark or bright to dull) or perspective drawings so that we can create the 3D illusion of an actual 3D object or space on a flat surface. Then you also need to understand the meaning and use of the terms figurative and non-figurative (also referred to as abstract shapes/form). A figurative form or shape symbolises or projects, for instance, the human or animal form/shape. Non-figurative is similar in meaning to abstract. It is a shape or form that does not represent anything specific and is not recognisable within our standard frame of reference.
2D shape
3D form
2D shape
3D form
A sphere is another example of a circle as a 3D form. This is also an example of a symmetrical balanced form. If you cut it in half you will nd that both halves are exactly the same. A symmetrical balanced circle can also be referred to as an example of radial balance. Radial symmetry is when forms are exactly the same all around a central point, no matter if you cut it horizontally or vertically. The centre of the form is acting as the focal point.
Looking at the design on the left, which do you think is the negative or positive shape? Do you think it is the black or the white?
Positive and negative shapes

A positive shape is the real shape or object while the negative shape refers to the space or background that surrounds the real shape. While studying design, it is vital to understand and master the effective use of negative and positive space. Sometimes it can even be difficult to differentiate between the two. Let us have a look at the designer M.C. Eschers examples on the following pages. These examples show an intricate illusion through the reversal of the positive and negative spaces.
MC Escher, 1957 woodcuts
57
MC Escher, 1957 woodcuts
WHAT IS DESIGN?
58
WHAT IS DESIGN?
MC Escher, Symmetry drawings
Did you know... that the Freeplay Self-powered Lantern was designed by South African designers B Qually, E Rijkheer, R Mulder and J Hutchinson from Syzygy in 1998? This environmentally-friendly, long-life and cost-effective design/product works without any batteries. A wind-up lantern differs from the rest in its class because it can also store the energy, to be used at a later stage. Devices that usually need electricity or batteries, like a walkman and some mobile phones, can also draw power from the stored energy. This product used to be manufactured in SA and was exported to the USA, UK, Canada, Europe and of course Africa.
(Design for development; solving problems like lack of electricity in rural and under developed communities; socially and environmentally responsible product) Freeplay selfpower lantern http://dddxyz.com http://www.freeplayenergy.com
59
Although we have all tried to draw a perfect circle by hand and sometimes even get close to doing so, it is really hard to draw perfect geometric/inorganic shapes like a square, circle or triangle without the assistance of man-made tools like a ruler or a compass. As soon as we identify any irregularity and variation of shape, we tend to refer to it as natural or hand-made forms. The fascinating thing is that, as soon as we carefully observe the beautiful patterns on the wings of a butterfly, the details on a colourful caterpillar, or investigate a snowflake under a microscope, we begin to realise that even nature has many examples of intricate geometric shapes. This is an invitation to you to become more involved and aware of your environment and experience what fun it is to observe the detail in nature and other objects around you. You will quickly find out why we say that most designers use shapes, forms and decorative motifs or elements they find in nature as their inspiration for a final design, product or object. All related forms that project in some way or another the shape, movement, appearance or function of a living organism can be classified as biomorphic shapes/forms.
Most designers use shapes and decorative motifs or elements they find in nature as their inspiration for a final design, product or object
WHAT IS DESIGN?
60
What is biomimicry? WHAT IS DESIGN?

When designers and engineers learn from the best nature has to offer, we stand a better chance of designing products and services that are more sustainable and environmentally friendly. Claire Janisch of biomimicrySA (South Africa) explains what this term actually means and how designers, inventors and engineers learn from the best examples nature has to offer, so that they can develop and produce quality products and systems that are inspired by a design that stood the test of time over centuries.
BIOMIMICRY Bios means life, Mimicry means imitate. Biomimicry is the practice of learning from and then emulating natural forms, processes and ecosystems to solve human problems and create more sustainable designs.Its studying a leaf to invent a better solar cell, the humpback whales fin to invent more effective wind turbines, or an electric eel to make a better battery.Organisms and ecosystems face the same challenges that we humans do, but they meet those challenges in an inherently sustainable way.Whatever the design challenge, the odds are high that one or more of the worlds 30 million creatures have not only faced the same challenge, but has evolved effective strategies to solve it.For designers, architects, engineers and innovators of all stripes, the answer to the question What would nature do here? is a revelation. Theres not one new idea, but millions; ideas evolved in context, tested over eons and proven to be safe for this generation and the next.Mimicking these earth-savvy designs can help humans leapfrog to technologies that sip energy, shave material use, reject toxins, and work as a system to create conditions conducive to life. Here are some images and explanations you can use as examples: Bill McDonoughs buildings function like trees, capturing water and energy and cleaning them, being adaptable to changing conditions, and creating conditions conducive to life. See examples 3 and 4 below. Gecko tape - mimics the way geckos attach to surfaces using tiny hairs that electrostatically attach to the surface using Van der Waals forces. No need for toxic glues. Can be used to attach wallpaper to walls, or to attach parts together in larger products - such as cell phones, laptops or cars. This way, the component parts can be taken apart at the end of their useful life and recycled. If theyre stuck together using glues, this is not possible. See examples 1 and 2 below. 1. 4.
2. 3.
Janine Benyus: Biomimicry in action
http://www.ted.com/talks/lang/eng/janine_benyus_biomimicry_in_action.html
61
Learning from humpback whales how to create efcient wind power can be very sustainable: The random-looking bumps on the humpback whales flippers have inspired a breakthrough in aerodynamic design that seems like nothing less than a revolution in fluid dynamics. Rather like a school bus performing pirouettes under water, a humpback whale (Megaptera novaeangliae) 12 15m long and weighing nearly 40 tons swims in circles tight enough to produce nets of bubbles only 1.5 m across while corralling and catching krill, its shrimp-like prey. It turns out that the whales surprising dexterity is due mainly to its flippers, which have large, irregular-looking bumps called tubercules across their leading edges. Whereas sheets of water flowing over smooth flippers break up into myriad turbulent vortices as they cross the flipper, sheets of water passing through a humpbacks tubercules maintain even channels of fast-moving water, allowing humpbacks to keep their grip on the water at sharper angles and turn tighter corners, even at low speeds. Wind tunnel tests of model humpback fins with and without tubercules have demonstrated that the aerodynamic improvements tubercules make an 8% improvement in lift and a 32% reduction in drag, as well as allowing for a 40% increase in angle of attack over smooth flippers before stalling. A company called WhalePower is applying the lessons learned from humpback whales to the design of wind turbines to increase their efficiency, while this natural technology also has enormous potential to improve the safety and performance of airplanes, fans and more.
Whale power copies the tubercles on the ns of the Humpback whale
Learning from nature how to create ow without friction can be very sustainable: Fans and other rotational devices are a major part of the human built environment, and a major component of our total energy usage. Although weve been building such devices in one form or another since at least 100 BC, until now weve never built them as nature does. Naturally flowing fluids, gases and heat follow a common geometric pattern that differs in shape from conventional human-made rotors. Nature moves water and air using a logarithmic or exponentially growing spiral, as commonly seen in seashells. This pattern shows up everywhere in nature: in the pattern of swirling galaxies in outer space, in the shape of the cochlea of our inner ears, in plant shapes and wherever fluids moves naturally. Inspired by the way nature moves water and air, PAX Scientific Inc. applied this fundamental geometry to the shape of human-made rotary devices for the first time, in fans, mixers, propellers, turbines and pumps. Depending on the application, the resulting designs reduce energy usage by a staggering 10 85% over conventional rotors, and noise by up to 75%. Very sustainable and environmentally friendly.
Biomimicry SA website: https://sites.google.com/site/biomimicrysa
www.biomimicryinstitute.org
www.thepaxgroup.com
www.biomimicry.net
WHAT IS DESIGN?
62
BIOMIMICRY CASE STUDIES

WHAT IS DESIGN?
ENERGY EFFICIENCY Learning from nature how to create ow without friction http://www.biomimicryinstitute.org/case-studies/case-studies/energy-efciency.html HUMAN SAFETY Learning from dolphins how to warn people about tsunamis http://www.biomimicryinstitute.org/case-studies/case-studies/human-safety.html CLIMATE CHANGE Learning from human lungs how to sequester carbon http://www.biomimicryinstitute.org/case-studies/case-studies/climate-change.html ARCHITECTURE Learning from termites how to create sustainable buildings http://www.biomimicryinstitute.org/case-studies/case-studies/architecture.html TRANSPORTATION Learning efciency from kingshers http://www.biomimicryinstitute.org/case-studies/case-studies/transportation.html TOXICS Learning from lotus plants how to clean without cleaners http://www.biomimicryinstitute.org/case-studies/case-studies/toxics.html MEDICINE Learning from chimpanzees how to heal ourselves http://www.biomimicryinstitute.org/case-studies/case-studies/medicine.html INDUSTRIAL DESIGN Learning from trees and bones how to optimize strength and materials http://www.biomimicryinstitute.org/case-studies/case-studies/industrial-design.html AGRICULTURE Learning from prairies how to grow food sustainably http://www.biomimicryinstitute.org/case-studies/case-studies/agriculture.html
How nature inspires design

Nature is a limitless source of inspiration. The visual examples on these two pages do not only show textural variety and present us with a feast for the eye but also suggest examples of nature versus man-made objects. See if you can recognise similarities in shape, texture, line and colour between the natural and man-made objects.
63
Lets see if you can apply your knowledge and skills.
TEXTURE
The texture of a surface clearly communicates if the surface is rough or coarse, smooth, silky, woolly, glossy or matt. Texture also communicates if the surface is cold for instance metal or warm for instance wood. Obviously, colour will also play a huge role in the interpretation of a surface. For instance, a smooth grey metallic colour will symbolise a much colder feeling than a smooth red metallic colour. But if you only have black and white, using a koki pen or pencil, how will you manipulate your pencil or pen to draw textures that reflect or communicate a variety of surfaces? Why dont you try it? One can also refer to a visual or tactile texture. The visual texture suggests the textural quality that one experience through sight, while tactile texture refers to the textural quality experienced through touch.
Activity 12
This activity has two parts.
Part one
Take an A4 piece of paper and fold it into eight equal blocks. Open the A4 paper. Now place the paper over a texture and rub a pencil (HB, 2B, 4B or 6B pencils) over the texture. Make sure that each block will be used for a different texture. A darker pencil like a 4B or a 6B will work best. The challenge is to see if you can find and fill up all eight blocks with rubbings of very different textures. This technique, used to reproduce or copy the textural quality of a surface, is called frottage also referred to as a rubbing.
Part two
Take a second piece of A4 paper, draw eight equal blocks and copy each texture from the first exercise into a block. You may only use a pencil to re-draw the textures.
WHAT IS DESIGN?
64
WHAT IS DESIGN?
10
11
12
13
14
15
Activity 13
Lets see if you can describe the textures in the pictures above (1-15). Write down the number of each picture and see if you can describe in words the texture and the feeling you think each texture reflects. Share your interpretation with your friends and see what they think.
65
Colour
COLOUR
Lets get a basic understanding of colour.
The three primary colours

Primary colours cannot be made by mixing together other colours. One can say they are originals if you prefer. Red, blue and yellow are primary colours.
The three secondary colours

Each of these colours is made by mixing two primary colours together. Red + Yellow = Orange Blue + Yellow = Green Red + Blue = Purple/Violet
WHAT IS DESIGN?
66
Tertiary colours WHAT IS DESIGN?

Created when one secondary colour and one primary colour are mixed together. Orange + Red = Red orange Purple + Blue = Blue purple
Purple + Red = Red purple
Orange + Yellow = Yellow orange
Green + Blue = Blue green
Green + Yellow = Yellow green
Complementary colours
These are contrasting colours that are opposites on the colour wheel, for example, red and green, yellow and purple, blue and orange. A primary colour is thus the complementary colour of a secondary colour (mix of 2 primary colours). Red + Green Yellow + Purple Blue + Orange
67
Other terminology you should know:
blocks below. When you mix a colour with white, we refer to a tint of the same colour. When you mix a colour with black, we refer to a shade of the same colour. A hue also refers to a colour or the shade of a colour.
Tint
Shade
Colours that are next to each other on the colour wheel are in harmony with each other. We can also say that these colours are from the same family, for instance, red, orange and red-orange. These harmonious colours are also referred to as analogous colours. Colour value refers to the lightness or darkness of a colour. Monochromatic colours refer to the same colours but with a variation in value (lighter or darker) of that colour. Neutral colour classically refers to the use of non-colours such as black, white and grey and all shades in between. No saturation refers to shades of grey. Low saturated colours have no vibrance. The colours are dull and have little or none of the pure colour left. A saturated colour suggests the most pure and vibrant state of a colour; in other words, no white is added to the colour. A subdued colour refers to a soft and less strong colour that is not bright or bold in any way. The colour is therefore toned down.
WHAT IS DESIGN?
A tone/tonal value of a colour is when you use a lighter or darker version of the same colour. See the colour
68
Tonal value WHAT IS DESIGN?
This refers to the different values/levels of contrasts between light and dark or bright and dull. The greater the contrast the bigger the focus one of the most effective ways to direct the eye to a focal point. Strong tonal values will accentuate the focal point and will lessen the confusion of the viewer. The more contrast in tone and the closer together the contrasting elements are, the more attention is drawn to the boundary between the two. Subtle contrasts and delicate tonal values can be used to direct the attention to the focal point of the composition and be delicate enough not to distract attention away from the focal point. Gradual change in tonal value is used to create an illusion of depth within a composition and can also be used to add 3D qualities, like volume and weight, to an object on a 2D surface. This can be achieved through the way you use the tonal values of line, shading or colour. For example: from bright colours (foreground) to dull or darker colours (background) from light tone of line (foreground) to dark and bolder line (background) from light and less shading (foreground) to dark and more shading (background).
Tonal value can thus accentuate depth, volume, 3D qualities, foreground, background, middleground or a specific element or object in the composition. Colour is also used to create an illusion of depth and distance. Warm colours like reds will come forward, while colder colours like blues and greens will recede into the background/distance.
69
Carefully study the following list of words. Use the grid provided and take each word and place it in the correct column. These words are all linked to one or more of the elements in design. Lets see how you do. Only use the white spaces provided.
tactile; secondary; symbolic; subdued; harmonies; adjectives; monochromatic; linear; markmaking; spontaneous; bright versus dark; loose; bold; expressive; varied; geometric; shades; free form; mass (volume or weight); outline; mark-making; shades; surface; colour wheel; complementary; crisp; focus; contrasting; naturalistic; controlled; depth; expressive; bold/ bright; 3D unit; emotive/expressive; 3D qualities; spontaneous; (de-) saturated; ne; organic; contrasting; primary; tertiary; uid; volume; middle ground
LINE/DOT
SHAPE/FORM
TEXTURE
COLOUR
TONAL VALUE
WHAT IS DESIGN?
Activity 14
70
Using colour as a symbol

Colour is a very powerful tool, especially when you want to communicate with, relate to, and grab the attention of a specific market. However, it is important to be aware of the different meanings of a colour across different cultures. A designer cannot afford to be nave in this area and risk offending their target market. Lets have a look at the following colours and how they differ in meaning in different cultures
WHAT IS DESIGN?
Psychological implications of colour
Black
A symbol of mourning in Europe; United States; SA
White
For most a symbol of purity and peace, while in East Asia this colour symbolises death. The colour worn by most brides in, for example, SA, US and Europe.
Red
The colour worn by brides in Asia.
Market research proves that, for instance in the automobile industry, certain colours contribute to an increase in sales. Trends also play a huge role especially in the world of fashion and interiors. Trend forecasting also includes the forecasting of colour palettes for the forthcoming seasons. A percentage of the design industry uses this information and designs their new pieces with these indicators in mind. Most colours can also have both positive and negative interpretations. An example could be: A photograph of Table Mountain in Cape Town with a red background could imply or symbolise something positive (a stunning sunset) or something negative (a terrible and destructive fire).
71
Consider the following:

a. b. Symbolic use of colour in advertising. Different interpretations of symbolic use of colour in Western and rural cultures.
that suggests fun, fantasies, fairytales and suggest a state of madness or nightmares.
Violet/purple
is an exuberant colour
The following interpretations of colour are generally the norm within a Western, European or American context.
passion and eroticism. However, red can also evoke aggression and can suggest anger or violence.
Red is associated with blood, energy, love, excitement,
Orange is an informal colour, the colour of flesh. It

creates a feeling of warmth (think of the colour of a fire). This colour can also suggest approachability, friendliness and a feeling of being informal. However, a colour that implies too much approachability and informality can also have a negative implication. It can suggest something that is cheap and lacking quality.
a feeling of optimism and energy. But this colour can also be so overwhelming that it can have a draining
Yellow is the colour of sunshine. This colour creates
effect on the body and soul. Yellow is also believed to create a false sense of happiness and lack of courage.
Green is a colour we all tend to understand because

we immediately associate it with nature, which suggests calmness, stability, life, beauty. However, as soon as we put this colour into a different context or use a specific tone of this colour, it can suggest decay, fungus, mould, toxins and things that are artificial.
because of our association with the blue sky and the colour of the sea. Depending on the type of blue we use, this colour can symbolise crispness, freshness and coolness; an electric royal or deep blue can suggest spirituality and another tone can imply reserved elegance. However, certain tones of blue can also suggest or evoke depression or a feeling of sadness or loneliness. (I am feeling blue/I am having a blue Monday)
Blue is another colour we all can relate to simply
WHAT IS DESIGN?
impulsiveness. However, this colour can also
72
WHAT IS DESIGN?
73
Colour is a very powerful tool, especially when you want to communicate with, relate to, and grab the attention of a specific market
Activity 15
Lets apply your knowledge and skills of the colour wheel. By cutting blocks, 2 cm x 2 cm, from magazines, create your own colour blocks. Create or design your own grid, using your colour blocks to explain the following terms to a friend who is not studying design. Please add appropriate labels to your colour blocks. 1. Complementary colours
Photographic shoot for the South African band Elzahn Rinquest
2. Tones 3. Tints 4. Shades 5. 6. 7. 8. Secondary colours Primary colours Tertiary colours Analogue colours
WHAT IS DESIGN?
74
4. Introducing drawing materials

WHAT IS DESIGN?
Most common drawing materials

No matter if you are an artist or designer, the continuous development of your observational and drawings skills is vital and can not be emphasised enough. Only through experimentation and continuous use of drawing materials will you be able to develop your competency in using a variety of mediums. You need to experience the limitations and applications of each so that you can select appropriate materials when approaching a new Medium Graphite pencils 2H, HB, 2B, 4B, 6B etc. task or project. The following table is a simple and short summary of some drawing materials and will assist you in preparation for Activity 15 to follow. Spaces have been left for your own markmaking and experimentation of some of the mediums/materials as well as sections to make your own notes/comments. Ask your teacher to tell you more about the history of these materials. Make your own marks with this material
History H hard Own notes
grading of pencils: HB medium B black (soft)
75
Medium
Crayon pencils
Make your own marks with this material
Own notes
Medium
Pen and Ink
Own notes
Medium
Felt pens/Markers
Own notes
WHAT IS DESIGN?
76
Medium
Fountain pen
WHAT IS DESIGN?
Own notes
Medium
Ballpoint Ballpoint drawing
Own notes
Medium
Roller ball pen
77
Own notes
Medium
Dip pen
Own notes
Medium
Charcoal
Different qualities of charcoal: from left to right charcoal sticks; compressed charcoal; charcoal pencils Own notes
WHAT IS DESIGN?
78
Medium
Chalk
WHAT IS DESIGN?
Own notes
Medium
Pastels
Commercial pastel sticks Own notes
Medium
Oil paint
79
Own notes
Medium
Watercolour
Own notes
Medium
Gouache (pronounced ghoe asj)
Own notes
WHAT IS DESIGN?
80
Medium
Acrylics
WHAT IS DESIGN?
Own notes
Medium
Tempera
Own notes
81
Medium
Airbrush
The airbrush tool Own notes
WHAT IS DESIGN?
82
Activity 16 (Exploring a variety of drawing

WHAT IS DESIGN?
materials and techniques)

DRAWING the sound of ordinary things around you is about your personal experience and association with those sounds. You cannot base this activity on other peoples interpretations. This activity will certainly improve your conceptual and problem-solving skills. Remember, a good designer must usually give form to things that are not tactile but rather abstract, such as emotions, tastes, identities, likes and dislikes, so that the product can be attractive to the identity of a specific consumers taste, style and emotional state. A designer should easily relate to and identify with abstract things ultimately know how to almost personify these non-tactile things through the use of colour, texture, shape, details etc. So a really good designer will see the following exercise as a breeze because they use their conceptual thinking skills every day. Lets see how you improve and manage this challenge. Exercise
Using the elements of design, conceptual and problem-solving skills, see if you can draw the sound of the following. Experiment with different drawing materials to get your preferred idea with each sound. A crashing wave A clock ticking Someone shouting High heels walking on the floor A motor car at high speed The sound a bee makes
Scratching with a stick on tar The soothing sound of a river running in the distance The roaring sound of a crowd at a soccer or rugby game Continuous barking of a small dog A skateboard on tar Clapping of hands
83
5. Introducing the primary design principles

WHAT IS DESIGN?
Introducing the primary design principles

1. Balance 2. Contrast 3. Unity/harmony 4. Rhythm/movement 5. Proportion/scale 6. Focus/emphasis/dominance 7. Composition/layout
Different ways to manipulate and use your elements/ingredients
By using and manipulating the design elements (line, shape, texture, colour, tonal value), one can achieve the design principles. Because of the nature of modern design, the principles can overlap and vary between different design fields, design schools and individual practising designers. It is therefore never set in stone. To fulfil a specific purpose, the principles are used to organise the relationships between elements and the final composition so that a specific outcome can be achieved.
1. Balance a. An unbalanced or evenly balanced design will communicate a specific mood/look and feel. In other words, the way you structure or organise the use of line, texture, shape, colour and tone will determine a balanced or unbalanced design/composition/layout. b. Asymmetrical balance is achieved when elements with contrasting sizes, numbers, weight, colour and texture are positioned off centre to one another or to a central point and still create an equilibrium or balance. These are usually different elements that ask for the same attention and visual focus, like a huge pumpkin versus a small egg. c. d. Symmetrical balance is achieved when elements are equally positioned and mirrored on either side of a central point. Radial balance is similar to symmetrical balance but achieved in a circular shape or form, like a sphere. Such forms are exactly the same all around a central point, no matter if you cut it horizontally or vertically. Thus the centre of the form is acting as the focal point. e. f. A very dominant focal point also provides balance as it doesnt give the feeling that it is pulling to either side of the composition. Balance creates unity and harmony in a design.
84
g.
Equal division of a shape or space can be boring. It is advised that the division should be less equal but still result in a harmonious balance or relationship between sections.
WHAT IS DESIGN?
2. Contrast a.
well balanced not balanced
boring
The use of contrast in your design can emphasise the message or concept you want to communicate, create impact and focus and may also prevent the design from looking boring.
b. c.
To create contrast and variety, use opposite qualities of line, colour, texture, tonal value or shape. A variety in size will also create contrast. You can even create contrast through the way you use the available space that you place your design in. For instance, one side of the space can be very decorative while the opposite side can have no detail at all. The same goes for the contrast between light and dark, bright versus dull to emphasise contrast and thus create a focal point.
d.
Quantity of elements can also create contrast, for instance, one shape versus many.
3. Unity/harmony a. Unity is achieved by the way you organise all the elements in your design; like the use of specific colours, the even distribution of colour, your choice of materials, shape, texture and line. You can also achieve unity by purposefully selecting similar materials and design elements to be used in the same composition. b. c. Unity is also achieved by repetition and overlap of design elements. To balance the elements will also create unity and harmony in a design.
4. Rhythm/movement a. So how does a designer capture the sense of implied movement in a fixed image that does not have the ability to move? The way you place or space your elements like line, shape, texture and colour can create a sense of movement. The repetition of the elements can also imply movement. b. Compositional movement is achieved by the way the designer composes elements in the layout of the design. In other words, certain elements will attract the attention of the viewer and make the viewers eye move from one point to the next. c. Static movement is when the viewers eye jumps erratically from one element to another. This can be achieved by using either contrasting colours, shapes, lines, textures or elements that are related and placed amongst the rest. d. e. Dynamic movement is when the eye moves smoothly from one area to the next. This can be achieved by the continuation of line, shape, texture or gradual change of colour or form. When objects/design elements point towards each other in a composition, it creates an eye path that keeps the viewers attention inside the composition/picture plane. Ultimately, the eye will always move through the composition in some way; therefore, there is always some sort of compositional movement and rhythm.
85
5. a. b. c. d. e. f. g.
Proportion/scale (size) This principle focuses on the different sizes of objects and spaces and the relationship between them A well-balanced and harmonious compo-sition is the result of good proportional relationships between different sized objects and spaces. Be aware that the use of similar sized objects and spaces can result in a very boring layout or composition. Scale is usually used in relation to balance and dominance. Large objects are generally balanced by smaller objects, placed elsewhere in the composition or layout. Different sizes can also emphasise depth; for instance, a larger object will appear to be near and in the foreground while a smaller object will appear to be further away and in the background. Thus scale can also be used to help the viewer to find the focus and separate important objects from less important objects bigger size (closer to the viewer) is more important while a much smaller size that is further away appears to be less important.
h.
Proportional relationships can also be achieved with the distribution of texture, colour, line and quantities of elements/objects throughout the composition. For instance, bright versus dull colours; rough textures versus smooth; many objects versus few or none.
6. Focus/emphasis/dominance a. b. If your concept or message needs to be emphasised through the use of a focal point, look at how you will manipulate colour, line, texture, shape/form and tonal value to achieve this. You also need to be aware of the relationship between different elements, their propor-tional relationship, contrast in colour (brighter versus dark/dull) or detail (more detail versus less detail) or scale (big versus small) within the composition. c. d. e. Style and scale of typography, if applicable, can also play a vital role in creating a focal point. The designer can also achieve this principle by incorporating the element of surprise adding something unexpected. The focal point is the section of the design that most strongly draws the attention of the viewer. This is also a way to captivate the viewers attention and can definitely evoke a reaction from the viewer. f. Quantity of elements can also create a focal point or dominance; for instance, one shape placed opposite many. 7. Composition/layout Composition/layout is usually the way/method that you use to arrange the design elements within the allocated or given space. In other words, the use of design principles will eventually determine the final composition.
WHAT IS DESIGN?
within a composition.
86
The focal point is the section of the design that most strongly draws the attention of the viewer
WHAT IS DESIGN?
Colour can also be used to create order and balance in a design if the colour is distributed evenly
1. 2. 3. 4.
5. 6. 7. 8.
9. 10. 11. 12.
13. 14. 15. 16
Calendar designed by BluPrint for the CSA (Centre for the Study of Aids at the University of Pretoria)
The above visuals used a variety of design elements and principles. See if you can identify them. List all the elements and principles of design and then select the blocks that you think are appropriate examples of each. Use the numbers provided to identify the correct block.
Unity is achieved by the way you organise all the elements in your design
87
Make sure that you understand the following terminolgy: i. The actual space concerns a three-dimensional (3D) area. iii. iv. v. Sometimes the designer wants to show depth in the composition. In other words, the designer wants to create the illusion of a background, middle ground and foreground. This can be achieved using colour (cold colours in the background and warmer colours in the foreground), or using different sizes of objects (smaller and less focused in the back, and bigger and clearer in the Overlapping of objects can also create the illusion of space and depth and adds to the The composition can be balanced, unbalanced, have a focal point, be static, or have rhythm or movement. It all depends on what you want to communicate and how you organise your design elements to achieve selected design principles. ii. The implied space represents a three-dimensional space presented on a two- dimensional surface.
front). composition.
Did you know...

that the 5 ml Smartlock Safety Syringe was designed by South Africans in 1998? These designers are W Blake, P Lambourn, J Loureiro, M Moore, D Shiel, M Tappero, H van der Meyden and A Wadman, of the Anglo American Industrial Corporation (today Anglo American Operations Limited). This cleverly designed syringe is the answer to protect medical personnel against needle-prick injuries and thus against exposure to life-threatening diseases such as HIV/Aids. Smartlock syringes used to be manufactured in Somerset West, at a facility described as one of the most sophisticated medical manufacturers in the southern hemisphere. This product used to be exported all over the world.
(Design for safety and medical care) Publication: Thirty years of South African Design Excellence. See details on page 336 if you want to have your own copy.
Activity 17
To master the use of the design elements and principles successfully is quite an achievement. Your conceptual and problem-solving skills will be challenged. Lets test your competency in this field. Using the principles of design successfully can result in a composition or end product that reflects or symbolises a visual image which communicates a certain look & feel and message, for instance:
quiet or peaceful bold and aggressive functional or decorative sexy feminine happiness cocooning
simple or complex narrative or informative evoke a reaction fragile muscular stability or security fairytale
Themes Themes
WHAT IS DESIGN?
88
Activity 17 continued... WHAT IS DESIGN?

Step one Choose any six themes from the list provided on page 88. Then explore the use of a variety of materials, techniques, paint and drawing materials. In addition, collect any materials that you think will visually communicate each theme. This can include anything from the use of cotton wool, silk, sand, rice to fabric or plastics. Step two Cut out six cardboard blocks, 15 cm x 15 cm. Now try to create the look and feel of each theme. You may only use the materials you have collected as well as any paint or drawing materials and techniques. You may not use words or recognisable shapes to describe your theme. Only texture, colour, line and form may be used. You are free to use any method to achieve the result. Remember this activity is about your own interpretation and imagination of the themes you have selected. There is no right or wrong.
Remember that a designer does not only interpret the design brief but, at the same time, he/she also identifies the target market. A good designer is able to identify with a variety of target markets. This includes an understanding of their likes and dislikes, their style that is created through their choices of clothing, accessories, hairstyles, music, etc. Using and manipulating the design elements and principles, a good designer is able to achieve a design that will appeal to the identified target market.
Always continue to ask the following questions while doing any design.
Tick the appropriate block:
QUESTIONS
Do I understand my concept, message, theme or style? Do I understand and know enough about my target market? Do I understand the style, mood or look and feel that I want to achieve and communicate? Do I know how I will manipulate the design elements to achieve this? Keeping my target market in mind, can I identify which design principles I will use to make a success of my design? Do I know what I want the viewer to experience and feel while looking at the final design?
YES / MAYBE / NO
89
Activity 18
Carefully study the following list of words. Use the grid provided and take each word and place it in the correct column. These words are all linked to one or more of the principles of design with a few surprise elements in between. Lets see how you do. Only use the white spaces provided.
colour variety; asymmetrical; dark/light; exaggerated; linear perspective; large/small; complementary; juxtaposition; patterns; line variety; scale (large/small); radial symmetry; distortion; variety in shape; overlapping; spacial perspective; multiple points of view; rule of thirds; dominant; centre of interest; symmetrical; busy/calm; textural variety; repetition
BALANCE CONTRAST RHYTHM / MOVEMENT
VARIETY
PROPORTION / SCALE
SPACE / DEPTH
EMPHASIS / FOCUS
WHAT IS DESIGN?
90
More about the design process

WHAT IS DESIGN?
Activity 19
Good designers follow a specific structure, process or path from the time that they receive the project brief from a client to the delivery of the final product. This process is very structured and its importance can never be underestimated. You should never just kick off and design. There is a lot of information you first need to collect before you can do so. We call this the design process. This is as important as the success of the final product. After a lot of hard work on your side, lets see if you can manage the following.
No matter if you are asked to design a new funky motor car, skateboard, house or a fashion item, reorganise the following list according to the correct order or process you think a designer should follow.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Mount or frame your presentation Select and evaluate your best designs Design brief Present to client Do final technical drawings to preferred scale Do a full colour drawing with shading and details Read and interpret the brief Present the prototype to the client Make final changes Final product to client Identify the materials you will be using Plan method of construction and tools needed Research and find images related to the concept and theme Design at least three alternative conceptual sketches that meet the requirements of the brief Reflect on and evaluate your final product Feedback from client Write a final report
You should never just kick off and design. There is a lot of information you first need to collect before you can do so. We call this the design process
Design in a Business Context

DESIGN IN A BUSINESS CONTEXT
92
MODULE 1: TERM 1 Design in a business context
A basic understanding of Trends
Design in a Business Context

Historical context and style Trends: direct application to everyday life Trend experts: Li Edelkoort, Laureen Rossouw Using waste and recycling as a trend
Des B
Contents
1. An introduction to Trends and Visual merchandising 2. 3. 4.
5. Short case studies
93
esign in a Business Context
Trends House & Leisure, June 2007
http://www.assocmags.co.za/brands/3/house-and-leisure
http://www.elledecor.com
http://www.visi.co.za
94
1. An introduction to trends and visual merchandising

Within thirty seconds of first meeting someone, you will have formed an impression about what kind of person you think they are. You will judge their sex, age, size, nationality, occupation and social position all from their appearance. Youd also make some estimate of their temperament, friendliness and neatness. You might even make judgements on their trustworthiness and integrity. A persons first impression of you is based on your first appearance. And first impressions are often the most important impressions. Just as you are your best advertisement, retail outlets But before we discuss visual merchandising, we need to look at trends. What is it? Why does it change, and how do the retailers know what the next trend is going to be? and other exhibition events mostly have one chance to make an impression on their consumers/clients. For this reason, the window that showcases what the retailer offers the consumer needs to be very effective and striking! This job description is the responsibility of the visual merchandiser. He/she needs to be aware of the latest fads and trends in order to display the products in such a way that the visual information that is being provided will draw the consumer.
A persons first impression of you is based on your appearance. And first impressions are often the most important impressions
What is ? A consumer a person who purchases goods or services for personal use. Retail the sale of products or goods to the public in relatively small quantities for use or consumption rather than for resale.
Definition: Trends are all about ideas. They are emotions and thoughts emerging from a culture that reacts on the world. They are the way the world sees things and will manifest within the next six months to a year. Most cultures adapt these worldwide trends to their market, use what is relevent and adapt what is applicable.
Trends
Some looks are perennial favourites like the 60s and 70s because people like what they know, are comfortable with, and can relate to. A good idea will always be a good idea and people like to re-use or re-invent these ideas as they have such value (Denalda Tuckett)
95
Trends dont go in and out. When a trend comes in you have to admit that it has never gone away its not necessarily the same but so far I have never seen any major lifestyle trend disappear
Li Edelkoort.
Activity 20
See if you can spot a trend: Diarise the following questions in your design workbook. Brief: Study approximately five different retail outlets that sell the same items of product design. For example: 1. 2. 3. 4. 5. 6. Look at interior outlets such as: Mr Price Home, @ Home, Woolworths, Loads of Living and Stuttafords, PEP Stores or Makro Go to their linen and home ware departments. You can repeat this same exercise and compare the fashion, accessories and shoes for instance in most of these department stores. Select a range of towels. Look in all of the stores to see if there are similar images embroidered on the towels, such as a butterfly or any other image that is repeated in all of the stores. Are there similarities in their use of colour in the different outlets? What can you derive from this?
Did you know you have just noticed a trend in this seasons interior market? The chances are very good that the images that you have noticed during your trend spotting are also being used elsewhere. See if you can identify similar trends in other design sectors.
96
Activity 21
DESIGN IN A BUSINESS CONTEXT RESEARCH ASSIGNMENT: Research into a trend
You have been approached by Mr Price to write an analysis of available trends in this years Teen-clothing Summer/Spring Collection. They would like you to proof whether their trend forecaster chose the correct items for their nationwide outlets. You can look at a variety of items from shoes, tank tops to skirts, pants etc
Application
Write a (minimum) one-page essay, compare different items of your choice in five different clothing stores where you would normally buy your clothes. Can you see a common denominator or trend? For instance, if you look at handbags, do they have similar detail or emblems embroidered on them? Do they all range within a specific style or come from a specific era? Is there a common colour palette in most stores? In your essay, motivate your trend forecasting choices. You have to have proof of why you feel that your choices of items are this seasons actual trends. Remember, businesses can sustain great losses if your information is unsound or incorrect.
Standard ingredients of a research essay

Contents page (listing of subsections of your research) Introduction (introducing the topics that you are covering) Body (could be broken into chapters) Visual images (take photos of the items or find other visuals that you are utilising as proof of your Formal analysis use your formal elements and principles of design and analyse the visual examples of the products you have collected. Motivate why these items are successful or unsuccessful design items. Conclusion did the buyer for Mr Price clothing spot the trends for the season successfully? Motivate your answer.
Highlights of local fashion trends for 2010: http://issuu.com/designinformation/docs/design_ed_1/110? CIFF Summer 2010 trend forecast: http://issuu.com/designinformation/docs/design_ed_1/122?
research)
http://www.trendtablet.com/
97
2. Historical context and style

In order to determine future trends, forecasters look at fashion. Designers/stylists/visual merchandisers all scramble to view Vogues new releases every year in order to determine which influences will play a role in the following summer or winter fashion ranges. You might have heard that there is nothing in fashion that is still left to be discovered. This in some part is true: we only re-look and rework previous design eras. In order to understand the outfits and designs that you view everyday in retail outlets, we need to have a good understanding of the history of fashion.
Fashion is not something that exists in dresses only. Fashion is in the sky, in the street fashion has to do with ideas, the way we live, what is happening.
Coco Chanel
Style Sheets
Find or draw your own examples that represent each period or style as listed below and on the next page. Use the white blocks provided and add your examples to these style sheets.
? ?
In the 60s the hippie movement changed fashion radically. Bell-bottom jeans were the craze with floral shirts, patterns still derived from the 50s! Woman and men wore longer haircuts, mullet-hairstyles (short in front, long at the back) were the craze. Towards the end of the 60s the dress lengths shrunk to the infamous mini-skirt, barely covering your bottom with the result of hot pants becoming fashionable. In the music industry, The Beatles with their cropped hairstyles and short fringes sent woman into a tizzy! Late Modernism made its appearance in architectural styles, creating skyscrapers with rectangular forms, reaching up into the skies, becoming monumental forms.
Polyester and nylon made their entrance in the world of fashion that revolutionised certain fashions and trends. Jimmy Hendricks, in the music industry, seemed to open up a whole new world on his guitar. The architectural style in the 70s changed to High Tech buildings where the skeleton structure of the building wasnt hidden anymore: instead it was displayed on the outside of the building as part of its characteristics, celebrating technology by having high gloss finishes such as polished chrome and other very expensive materials.
98
? ? ?
Madonna happened. Underwear became garments to be worn as outer-wear. Broad belts engulfed midriffs, worn over bodyhugging chunky knits worn off the shoulder. The hairstyles went through a perm craze, think Jane Fonda and icons such as the Rolling Stones, and trends seemed to evolve around certain icons such as Princess Diana, the Princess of Wales. The Post-Modern era arrived, an architectural style that was a lot more people-friendly, and discarded concepts of Modernism such as less is more and instead adopted a credo of less is a bore. This meant the use of bright colours and a combination of styles e.g. combining an old building faade with a new wing attached to the building.
Grunge couture became the trend, torn stone-washed jean, short leather jackets. Black eyeshadow for girls created a drugged look. Music became a spin-off from hard rock with bands such as Nirvana, Pearl Jam and Oasis emerging. Techno and the music rave scene influenced fashion tremendously. The 90s became almost an eclectic era, with very little that can be regarded as new in the fashion industry. It was rather a combination of the last three decades.
Some of you might have noticed that the clothes that your parents kept in their cupboards from their teenage years have once again become very fashionable! Suddenly everyones walking around in mullet-cropped hair-dos and pointy shoes, with leggings! Have you noticed that when you wear something your parents might make a comment such as: I used to wear a top or shoes exactly like that when I was your age. Nothing in the design world can really be seen as new or a first of its kind. In the design and creative world it is a collaboration and reworking of past trends. What better example of this than Madonna?
99
3. Trends: Direct application to everyday life
Trend forecasters
The following two women have shaped and changed our lives dramatically, without our knowledge. They read fashion ahead of time, in order to help companies with goal setting and basically to help lead them, and us, into the future.
Li Edelkoort (Netherlands) Laureen Rossouw (South Africa)
http://trendunion.com/ http://www.designboom.com/eng/interview/liedelkoort.html
Personal case study
(Design Indaba magazine, rst quarter, 2007)
Li Edelkoort
Background & Training

Born in Holland in 1950, she is one of the worlds most renowned trend forecasters. She studied fashion and design at the School of Fine Arts in Arnhem, and on graduating became a buyer at the leading Dutch department store, Bijenkorf. There she discovered her talent for sensing upcoming trends, and her unique ability to predict what consumers would want to buy several seasons ahead of time. This brought her to Paris in 1975, working full time as an independent trend consultant.
Since then, Edelkoorts work has pioneered trend forecasting as a profession; from innovative trend forums for Premiere vision in the late 1980s to long-ranging lifestyle analysis for the worlds leading brands since the 1990s. From 1992 Edelkoorts magazines (View on Colour, InView and Bloom) have redefined the publishing medium and produced images that have become ideograms of our time. More recently, her work has evolved into the realms of education at the Design Academy Eindhoven, humanitarianism within the Heart wear foundation, and curatorship, as she delves into the art and design domain illuminating museums and exhibits around the world.
100
Time magazine named her as one of the worlds 25
The following is an extract from an article from her website: studio@edelkoort.com
most influential people in Fashion in 2003, while she received the Netherlandss Grand Seigneur prize one year later for her work in fashion and textiles. Aid to Artisans honoured Edelkoort with a Lifetime Achievement Award in 2005 for her support of craft and design, and North meets South, a design exhibit curated by Edelkoort, toured Saint Etienne, Paris, Stockholm
In the world of fashion and design, she is considered an icon of style with a fail-proof sense of what tomorrow will bring. Time magazine named her one of the 25 most influential fashion experts of our time
and New York. Last year, an international touring exhibit honouring Edelkoorts forecasting as a landmark medium of social commentary, was launched. If you ask Li Edelkoort, there is a golden future awaiting all of the industries that can meet peoples need for well-being. In her new trend book The Bible of WellBeing, she sees evidence that society is focusing more and more on discovering and encouraging a sense of comfort in every aspect of daily life. Industries such as fragrance and food, beauty and health, living and home furnishings will be inspired by upcoming tendencies that will lead them towards a wide palette of new product ideas. Consumers want to do something good for themselves and integrate more enjoyment and sensory pleasures into their everyday lives. The commandment in Edelkoorts current Bible is Enjoy! Li Edelkoort is one of the most sought-after trend researchers on the planet. For 20 years she has been pointing companies towards what tomorrows consumers want, how they will live and what will be important to them. When this then 55-year-old Dutch woman speaks, corporations listen among others, Coca-Cola, Este Lauder, LOral, Shiseido, Dim, as well as car companies, banks and even governments consult with her at her offices in Paris and New York. In the world of fashion and design, she is considered an icon of style with a fail-proof sense of what tomorrow will bring. Time magazine named her one of the 25 most influential fashion experts of our time, and the famous British design magazine i-D listed her among the worlds 40 most important designers.
http://www.designindaba.com/video/talking-textiles-li-edelkoort-milan2011
101
dy-bear, cosiness is a time-loved attitude, skin-like materials have moved with the times, our obsession with plants and gardening has introduced the concept of outside-inside. These lifestyles are trends with long lifespans; lasting for five, ten or twenty years, or even up to a half a century, before they lose popularity.
According to Edelkoort, trend research is not a science, it is an art that arose from necessity. Trend forecasting, unlike trend spotting, is indispensable in every sector of industry, even though the need still has to be recognised and acknowledged. I dont discover anything new, she states. I observe and interpret peoples behaviour and moods and note down what I see. I act as a catalyst for the spirit of the day and turn it into trends as early as possible. Li Edelkoort relies primarily on her intuition, and after that she works with scenarios of explanations and philosophy. Her perceptive awareness of societal movements, political developments and social changes is a tool she uses in her work every day. Li Edelkoorts trend books are regularly released in limited editions of 250. She always uses the same approach in her analyses. She looks for answers to questions such as: What will our lives be like in the future? What will people want? What wishes and needs will they have? What characteristics will a product need to have to be a success on the market and fulfil those needs? How does a product appeal to peoples senses how do you inspire people to want to buy things? Her regularly published trend-forecasting books, at the time 2000 each, contain her analyses and forecasts along with key words, expressive photos and samples of textiles. Text and photos communicate with one another, as she says: the idea is to decrypt their message. What is the difference between trend and lifestyle, and how long do their cycles last? Li Edelkoort says that a shirt, a shape or a colour can be examples of a trend. While there are short- and medium-wave trends, most last for much longer periods, evolving
The trend towards a global style has no future

One idea that is coming to an end is globalisation, as Li Edelkoort has been warning her clients for five years. In her eyes, it has had its run and is drawing to a close. We are tired of seeing the same brands all over the world, no matter whether you are in New York, Tokyo or Sao Paulo. Edelkoort believes that local products will undergo a renaissance, as will regional cuisines. This does not mean that global brands will end, but they will have to adapt to the needs of consumers on site. Future brands will experience a breath of fresh air if they combine their globally-oriented basis products with local features, regional variety and national flair and a product design that is eye-catching because of its outside character. The mainstream is over; the middle of the road is a dead end alley, Edelkoort says. When it comes to lifestyles, she sees our society at a turning point: we are starting to slow down and take things more unhurriedly. Whats more, people are looking for more authenticity and honesty, for truth and direct communication.
The difference between trends and lifestyles
gradually each season or returning from time to time. Pink as a fashion colour is now a classic, ted-
102
Wellness in or out?
Is wellness in or out? In Li Edelkoorts eyes, the wellness industry is about to boom. Her theory is that in this period of terrorist attacks, natural disasters and economic crises, people have a greater longing than ever not only for more safety, but for
Her theory is that in this period of terrorist attacks, natural disasters and economic crises, people have a greater longing than ever not only for more safety, but for a feeling of comfort, calm and balance. The desire for well-being will be the driving force throughout every aspect of our lives.
a feeling of comfort, calm and balance. The desire for well-being will be the driving force throughout every aspect of our lives. This will be apparent in how people spend their leisure time as well. Taking a major vacation each year will no longer be as important as having a bit of a vacation feeling on an everyday basis a holiday everyday. People will create their own wellness world at home where they can pamper themselves and surround themselves with things that give them a sense of stability, relaxation and balance. These objects will include top-quality foods, a luxurious living environment as well as exclusive products for body and hair care. This new lifestyle will place great emphasis on how we eat, Li Edelkoort says. Food, drink and cosmetics will play a decisive part in peoples search for new tastes and sensory impressions, and this will trigger a veritable flood of new items in the consumer goods market. Japan will inspire many trends, from fashion, eating habits and cosmetics all the way down to relaxation techniques. Fragrances will be a critical issue in all sorts of products in the future, including foods.
The democratisation of luxury
Li Edelkoort agrees that luxury will be a focus of fupotential for market growth in luxury articles. She
ture consumer behaviour. This is why she sees a large coined the term democratisation of luxury to describe this development, which involves the lines blurring between exclusive brands and discount items. In her opinion, this will lead to a dead end: consumers
will want either Zara or Prada, either H&M or Herms, but nothing in between. The concept of luxury
has shifted dramatically in the past several years, and of yourself and feeling well. A new kind of luxury is evolving that features high-quality, durable products.
it now also encompasses eating healthily, taking care
These objects will improve with time, and consumers porations to prepare for this new surge of luxury.
will develop a relationship with them. She advises cor-
Has Li Edelkoort ever made mistakes in her predicconfidence, although I have misjudged the duration mating the extent of a trend or the tempo with which it takes off. The most difficult thing is calculating the exact time and extent of the trend.
tions? I have never been wrong, she says with selfof some trends. There is a risk of over- or underesti-
Trend researchers cannot describe anything that invent trends. Trend research has nothing to do with capture, document, interpret and pass along information, as Li Edelkoort describes her work, which has long since become her life hobby as well. (studio@edelkoort.com)
does not already exist, she explains they cannot my own sense of creativity. To sum it up, what I do is
esearchers ca nything that not already e

103
Trend researchers cannot describe anything that does not already exist
104
Personal case study
Laureen Rossouw
Interview by San-Marie de la Rey
What is your background and training in the creative field? I achieved a B.A. in Languages with Drama, but I was always visually motivated. How did you get started as a trend forecaster? I started becoming a trend forecaster by taking a risk! I asked a photographer to shoot covers for Sarie magazine for me. I did the styling and putting together of the set. The covers were all accepted for that specific issue! Then they offered me pages for my own article in the magazine as a fashion stylist. From there it evolved to dcor and I became dcor editor at Cosmopolitan, at the same time I was raising a family. In 1996, I started Treehouse as the creative director. This became an international brand. In 2001 I went back to magazines as dcor editor of House and Leisure and landed up with a large responsibility as head of all visual material and trend forecaster, dcor stylist and associate editor.
What tips can you give someone thats interested in following in your footsteps? They must read as many magazines as possible watch the trends and watch similarities and differences between magazines. Remember, every magazine has its own handwriting and speaks to a different audience It is also important to be proactive about creating work.
What inspires you? It happens all the time: if you are visually aware, you will find visual stimulation everywhere. When you travel it is more likely to be stimulating because it is unknown territory and the impact is so much bigger. Nature acts as a given in our daily lives and we must pause to draw from it on a daily basis. Personally I find the colours in nature the most inspirational because they all live happily together. When we try to analyse colour we often make up a lot of rules that do not apply in nature. Children are naturally from a different visual generation and have a fresh take on everything. We must really try and learn from their world and their views and not reject them as young and inexperienced. They keep us in touch with the world. A great and worthwhile challenge. Interior and fashion: there is a great connection between fashion and interior with fashion always ahead because it is the faster medium. Trends develop from social changes in our society and it influences every aspect of how we think and act and see everything, so it affects more than mere fashion and interior but infiltrates into our psyche and behaviour patterns. Fashion and interior are the fun parts of the trend and can be used in very playful ways to explain the currents. Tell us more about trend forecasting. A trend cannot be forecast unless it already exists. People who pick up on trends first are then the ones that are called trend forecasters, and they can then inform the businesses and organisations to take certain directions because it will be relevant to the specific trend and could help the business in their decision making. What is more challenging about a trend is that, even if you pick up on the trend early enough, it could be too early for a business to apply this specific direction for its consumers. For example, a business like Woolworths will only apply a trend once it is well established because there is a risk that the customer is unfamiliar with the trend and might reject it, which is not financially viable. So the bottom line is to interpret a trend and translate it into a business plan.
105
A trend predictor gives us clear information about the future trend movements. Their purpose is to unify all design industries so that all designers can use their suggestions to determine the way the world is going. Trends are broad. For example, the age that you get married can be a trend; the social ethnic breakdown of a country affects trends. If the trend is for people to get married later, closer to their thirties, the husband and wife would probably contribute to the economy for longer, but this could also have a serious effect on the number of offspring, since it is riskier to start a family later in life, causing health issues to play an important role in procreation. Economics, politics and even environmental concerns can all relate to trends and help define ones business going forward. At present, the environment is playing a huge role in trends of businesses, such as cars, and designers are finding alternatives to fossil fuels such as hydrogen and electricity in order to minimise pollution and waste being released into our atmosphere.
The purpose of trend prediction

A company can sustain great losses if the person that they employ as their trend predictor makes incorrect forecasts. For example, if we look at Vogue, their fashion reveals a move back to Jackie Kennedy jackets, with round collars, short midriffts, and three-quarter-length arms, with big buttons and oversized sun glasses. If their target market, which would be women between 16 and 29 years of age, finds this fashion in all of the major retail outlets, except in the shop that you own, because your trend predictor thought that sexy, tight knits were the craze this season, your company would sustain great losses. So the main purpose of trend prediction is to enable companies to safely explore retail future alternatives, without the fear of sustaining losses that they might not be able to recover from.
The challenge of trend prediction

A lot of the likes and dislikes of society are very much a reaction on the world around them. A trend forecaster needs to have a sharpened awareness of this world. On the other hand an entrepreneur might decide to rather become a trendsetter than a follower.
The key to forecasting a trend is to always be beautiful and genuine
What does a trend predictor do?
106
Operational factors
Two main seasonal seasons: summer and winter.
These two main categories also have accompanying accessories that have a monthly input. Every month you will read about new accessories in interior design/and fashion magazines, keeping the items that you need to have from altering slightly, so as to keep your followers guessing.
Main categories
Key items most significant key items that you need for the season. Core items slightly older target market, includes more classic items that have possibly been tested in the key range already and are now on repeat in the next season. The customer is ready to accept the product. Volume input items that have not been included in the core items because of a high-risk quality, but that the marketing team still feels you will be able to dispose of easily. Input specific articles of luxury products for the alternative, individualistic and more connoisseur market, bought in smaller volumes.
4. Using waste and recycling as a trend
One of the biggest trends that seems to have lasted for the past 5 years, locally and internationally, has been a mental shift towards recycling and revamping, trying to minimise waste by making products that are environmentally friendly.
107
Think about and discuss in groups. In the year 2000, 46 million people lived in South Africa. If half of these people eat a carton of breakfast cereal every 2 weeks, how many empty cartons of breakfast cereal will be thrown away every year? In your groups, make a list of 5 other items that you use on a daily basis that are also packaged in containers that needs to be disposed. Which of these products on your list are made from natural resources? What is meaningful about the way people use or allocate natural resources? What do you know about the following? 1. 2. Fossil fuels? Which products do we get from fossil fuels? Which natural resources give us cartons? What materials give us glass? Do research if you do not know the answers!
Recycling schemes
In a lot of countries around the world, people have to separate their waste before putting it outside for refuse removal. Because glass, plastic, paper and tin are separated from normal degradable waste, recycling of products is possible on a much larger scale. In a lot of European cities even dustbins along streets are labelled to indicate which waste you are allowed to throw into these bins! For example, glass, tin or paper etc. In South Africa, recycling schemes are dependent on people themselves, taking their waste to recycling depots. P.S. Read more on www.greenleaf.com about how you can recycle glass in your neighbourhood.
Did you know even in the lm industry lms are being made, such as Al Gores An Inconvenient Truth to make us aware of how we are damaging our environment? If you look at current products, designers seem to have caught on. You only have to look at the content of the display at the 100% Design Fair in London.
Al Gores Inconvenient Truth http://youtu.be/wnjx6KETmi4 100% Design Fair in London http://www.100percentdesign.co.uk
Activity 22
108
The following examples were produced by students from the Coetzee Ateljee in Piketberg and students from Stellenberg High School. Everything you see were made from waste materials.
Application of waste materials as worthy materials
2.
3.
1.
1. 2. 3. 4.
4.
The top was made from knitted stockings of different tones to create the stripe-effect. The skirt was made from stockings stretched over cardboard circles. Designed by Nandi Nel. Detail of dress: made from hessian, shline, woven plastic, fruit packaging pieces. Designed by Monique Knigk. The seat and foot of the stool were made from parts of a plough, connected by the spring of a truck. The table was made from an oil drum. These were part of a bigger collection of furniture pieces, designed by Braam Hanekom, Megan Ruinhaard, Azandra Voster, Johanet de Villiers, Andrea Kotze. Recycled rope used on cloth to form interesting motifs.
109
5.
6.
5. 6. 7.
7.
Scatter cushions made from woven fruit / vegetable sacks used on farms for packaging. A lampshade made from rolled-up magazine paper tubes. A CD rack, redesigned to become an interesting light xture. Caption goes here.
110
This set design piece has been completely build by using joined (stuck-together) layers of corrugated cardboard to give a steady and relatively strong structure for each individual form you see on this set. It is then easy to use a jig-saw to cut out the desired shapes. At the end each form were painted the desired colour and textures that represents the real shape. No wonder one has to look twice to make double sure this is not the real thing but rather an imitated version of a real setting.
111
Plastic waste
Similar to other parts of the world, South Africans have also become more sensitive about the misuse of our planet. Plastic bags, for instance, never become degradable in nature. Local supermarkets have caught onto this, and a lot of greengrocers use brown paper bags, or charge a fee for plastic bags, in order to try and enforce recycling of shopping bags. Some shop keepers even request the consumer to bring his/her own bags or containers. The government tries to curb the ever-increasing problem of tons of waste, caused by plastic shopping bags, by regulating the thickness of these plastic bags, because stronger shopping bags can be re-used so that people can use the same bags over and over again.
Picture of knitted bag from plastic Michela Webster, Gr. 10 Design learner Curro Independent School
112
5. Short case studies

South African designers addressing environmental issues

HEATH NASH PRODUCT DESIGNER SOUTH AFRICA
A paper lampshade displayed at a university exhibition led to Fine Art major Heath Nashs first commission for the shop Bread & Butter. This in turn resulted in the creation of a range of lampshades that launched his brand. Known for his use of recycled plastic, Heath can be described as an eco-designer.
Heath Nash (image from Woolworths Making the Difference Through Design Daily resource manual)
He looks forward to a time when all packaging will be made from decomposable materials. He is also excited by the opportunities presented by the new technologies such as rapid prototyping which will impact upon design in the next decade. Recently, Heath was awarded the International Entrepreneurial Award in London. While he acknowledges the challenges of sustainability and the lack of manufacturers willing to develop young designers products, he still feels that South Africa is the best place to be working.
Recycled plastic light made from cleaning product bottles
It rocks here, he says.
113
Historical background Heath Nash studied Fine Art, specialising in sculpture, at the University of Cape Town. He only started making products such as lampshades and other lifestyle products after graduating. This young and upcoming designer is the winner of South African Elle Decorations Designer of the Year award in 2006 and was also appointed the SA creative entrepreneur of the year, by the British Council initiative. Influences His work is influenced by Japanese paper-folding art called origami. Even though this is an Eastern craft technique, Heath went in search of techniques that would express an African aesthetic. At a craft market, he met Richard Mondongwe who made beautiful plastic flowers. That was when Heath realised that he could create beautiful contemporary designs, by using the right materials combined with knowledge and skills of traditional crafters, to create designs that truly reflect South African design. Characteristics Most of his products are created from plastic, whether it is recycled milk or cleaning bottles or sheets of die-cut polypropylene (plastic). His work has a definite organic, floral characteristic, and seems to repeat the same shape, over and over, in order to create a modular base piece. The objects are created for an interior market, becoming beautiful delicate works of art, transforming regular waste into something beautiful when light shines from within these designs. Heath is very concerned about recycling and creating a more sustainable environment. Even though he recycles in order to source his materials, he is concerned that there is no such scheme op-
erating in South Africa.
There seems to be no
EATH NAS
infrastructure for it. He is trying to raise some are too precious to be wasted. Description of works/products Most of his designs function as lights or light fixtures, becoming hanging sculptural interior displays. Quite a lot of his lights are monochromatic, made from milk bottles, creating ethereal white cocoons of light. This is a lot easier to create since the material (milk-bottles) from which it is made, is very readily available. His full colour flower ball lights are made from a multicoloured cacophony of coloured flower petals that radiate richness and fantasy. He also makes colourful floor displays/carpets from cooldrink bottle tops, to wire pot hangers made for your kitchen from recycled telephone wire spelling the words, Its beautiful, from which you would hang your pots and your pans, creating these transformed objects from waste! Some of his products are screens made for hanging in front of windows instead of curtains. These are created from die-cut polypropylene sheets that are much more economical and less time consuming than searching for different coloured waste bottles to recycle for his colour ball lights. The important thing about his designs is that no two lights are the same. They are hand crafted, leaving room for individual and unique once-off pieces that would add a ray of light to any home!
http://www.heathnash.com/ http://www.heathnash.com/story.php
http://www.designindaba.com/speaker/presentation/heath-nash-2007
awareness with his products, that these materials
114
What is ....? Sustainability something that is able to be maintained at a certain rate or level. In ecology conserving an ecological balance by avoiding depletion of natural resources. .
DEIDRE COLEMAN JEWELLERY DESIGNER SOUTH AFRICA
Deirdre studied Fine Arts at the University of Stellenbosch and specialised in jewellery design and metallurgy. After studying further at the Fachochschule fr Gestaltung, in Germany, and a stint in London, she opened up her own design studio and works mainly in recycled metals. The necklace shown is an example of her using the opening mechanism of a regular soda can and bending it around other glass beads. This is truly an inspiring Proudly South African product.
Necklace made from the opening mechanism of canned cooldrink tins
DEIDRE COLEMAN
115
Historical background
Deidre studied for a B.A. Fine Arts degree specialising in jewellery design and metal work, at the University of Stellenbosch from where she graduated in 2001. In the midst of her studies she took part in an exchange programme with the Fachochschule
fr Gestaltung in Pfhortzheim, Germany, where she ent countries around the world and encouraged to take part in a Jewellery Journey exhibition. Influences
was exposed to working with designers from differ-
Characteristics She combines precious metals with non-precious recyclable objects. There is a simplicity about her designs, unifying her concepts and underlining the strength of her designs by not combining more than one colour with a metal such as silver or tin. Her inspiration is drawn from nature as can be seen in her butterfly pendant series. Description of works/products Tin-pull necklace: A repetition of circular shapes seem to draw your attention from the way in which she has bent the tin pulls around a glass bead, so as to hide the original function of the tin-pull, transforming it into an object of beauty without being able to spot its function immediately. Her tin-pull necklace repeats this technique to form a singular strand framing the face with matching earrings hanging in vertical linear drops, forming a broken line of aquamarine glass.
In the midst of this Jewellery Journey
exhibition, she searched for universally understood concepts surrounding materials, since the exhibition would be touring different countries. Thereby objects that we can all The tin pull that opens
fore she was influenced
relate to: a can of soda. the can opened a new way for Deirdre to experiment with using recycled
objects to create jewellery. Jewellery would normally be associated with very expensive materials and metals, therefore beauty and educating us on the difference and belief systems.
challenging our preconceived ideas of that design can make in transforming our opinions
http://www.dididesign.co.za/about_us/about_us.htm
116
RYAN FRANK INDUSTRIAL DESIGNER SOUTH AFRICA/ LONDON
The work of Ryan Frank, South African-born and London-based designer, is a showcase of his undeniably urban (city) life. He has a deep-seated fascination with reworking existing renewable materials into exciting new products. His marrying of old versus new into functional pieces has sparked a flurry of international media and design-house interest in his ability to see the beauty and worth in the old and dilapidated objects normally meant for the waste yard and rejected. This has resulted in the South African-inspired inkuku chair made from discarded supermarket shopping bags. See picture on the right.
Inkuku chair
117
YAN FRAN
Historical background Ryan started his studies in product design in Cape Town and then completed them in Zwolle, Holland. Having worked for a short period for a Dutch furniture company, he moved to London to work on his own product range collection.
Description of works/products Hackney Shelf: This was inspired by graffiti artists. It is basically a shelving unit, showcasing random graffiti art, tagging and sporadic stencilling found in public spaces around East London, UK. Ryan decided to put up blank wooden boards at various points around London, attracting a variety of illicit city activities. Once the boards have matured (been filled with street art), they are removed and transformed into contemporary shelving units, interplaying street art with an interior environment. This is a wonderful way of re-using things that would normally be regarded as rubbish or vandalism.
http://inhabitat.com/ryan-franks-hackney-shelf/
Influences He is inspired by the deterioration, corrosion and reclamation of the city, decay, and natural sustainable materials, as well as a range of materials that are readily available in the environment. He finds inspiration in the everyday, what you are visually bombarded with, such as graffiti at tube stations in East London, which inspired the Hackney Shelf and crafts on the side of the road in South Africa, made from plastic bags, from where his inspiration came for the inkuku chair. A result of this is often very eco-sensitive designs, one-of-a-kind pieces that are dictated by the material and what the material can do.
Shanty: This is a floor-standing light, made from discarded corrugated iron sheets (such as used to build houses in squatter camps), reclaiming materials that were meant for the rubbish dump. This design doubles as a room-dividing screen. The steel frame sits on two ball transfer units, making movement easy. Inkuku chair: Meaning chicken, in Zulu, this is made entirely from recycled materials. In this design, Ryan combines traditional South African craft techniques. His inspiration came from South African craft chicken ornaments. The chair has a wonderfully organic shape, wrapping your body in soft comfort, as the compressed plastic bags create wonderful padding for ones bottom. These bags were hooked over a recycled steel frame, creating the texture that feels rough to the touch but provides a lot of cushioning.
http://www.ryanfrank.net/
Characteristics Materials are at the heart of Ryans process, and are usually the starting point for his design. His products are often by-products of the creative process. His work is characterised by a certain honesty, in creating designs that are not copies of other designs but, transformations of the environment around him. Taking on sustainability is a tough challenge that Ryan takes up, but his innovative and experimental approach to materials shows a real commitment to transforming how we view sustainable design.
118
Link
Look at the case study of industrial designer Haldane Martin in the Woolworths Making the Difference Through Design Daily resource manual. He uses recycled plastic melted down from milk bottles combined with traditional Zulu weaving techniques to weave the Zulu Mama Chair or you can also Google Haldane Martin and nd out more about his products.
Even in other countries around the world, designers are also following the trend towards re-using and re-appropriation of materials.
EBONY SATCHWELL JEWELLERY DESIGNER SYDNEY

Walking along Bondi beach, she was always fascinated by marks left in the sand by peoples journeys, particularly those left by early morning vehicles. She loves the order and repetition of tyre marks. Tyres are quite synonymous with journeys as they are an important component of many vehicles for travel. They are often found lying next to the side of the highway, shredded and discarded by some form of accident. They speak of experience, of having been somewhere.
Necklace, material: tyre, plastic tube
119
BONY SATCHWEL
Historical background She is an award-winning graduate from the College of Fine Arts in Sydney where, after dabbling in ceramics and textiles, she decided upon majoring in jewellery design. She now spends most of her time in one of the strangest places she has ever been, Japan, where she is surrounded by constant stimulation that varies from the sublime mountainous vistas to the retina-burning neon streetscapes. Description of works/products Her tyre-necklace, that you can see in front of you, she made for the Jewellery Journey exhibition, using tyres that reveal they have been used, since the thread runs bare. She also creates much smaller works, such as her series of brooches, Bebe Cream (large bird brooch), combining a delicate silver bird with delicate curly detail contrasted against a circular white perspex disc. Her Lil Friend Red and Lil Friend Green are similar in design, but have coloured backgrounds with a centred flying bird almost flying off its background. You have a sense of the artist having a wandering creative spirit, never remaining in the same place for too long, always flying off to the next destination of learning: a whole new adventure... Influences Her memories date back to a childhood spent on a farm, where she would make books out of cereal boxes and bind the pages together with tree sap. It would seem that her love for recycling materials started early! Her work is also greatly influenced by the Japanese designer, Kyoko Hashimoto, who works in a similar style, exploring materials such as polypropylene and perspex, for whom Ebony has great admiration. She is currently studying the Japanese art of ikebana whilst continuing creating her lovely jewellery pieces. Characteristics In Japan her fans describe her work as kawaii which translates to cute. Her work caters for a much younger market, using fashionable materials such as perspex and plastic combined with precious metals to form simplistic but striking objects of desire.
120
Practical Projects
PRACTICAL PROJECTS
122
MODULE 1: TERM 1 Practical Projects
Practical projects and activities

PRACTICAL PROJECTS
These activities should be done in line with the theoretical context of the first semester as practical components and after the initial practical project like the Ice Breaker. It is important to maintain the order of the projects so that you gradually develop your skills and understanding about the elements and principles of design with confidence.
Activity 23
The barcode design, a two-dimensional (2D) project. Lets see how much you have learned about the elements and principles of design. Your objectives for activity 23 should include the following: the exploration of possibilities and manipulation of a vertical line an understanding of positive and negative space an understanding of rhythm, composition and balance to try to master your technical skills to be creative and innovative with what you are given to solve your problems time management self-motivation and perseverance neat presentation of your final project
The Brief/Project
1. 2. 3. 4. 5. 6. Take an A3 piece of paper. Divide the page into five equal columns or rows. Using only vertical lines (black for positive shapes) and the background (white for negative spaces), design and draw five completely different patterns for each column or row. The vertical lines should vary in thickness and must stretch from the top to the bottom of each lane. See how creative you can be with each pattern, using the positive and negative spaces to the full. After completing the patterns, cut the paper and separate the columns/rows. Use the surface of the table to play around, putting them in a variety of orders until you have found an order that allows for a balanced composition. By this we mean that, if you look at all the patterns together, none of them must stand out or create a focal point. Take your final barcode design and find the quickest and most efficient way to copy and transfer this design onto black paper (or any other colour paper available). You may not destroy the original design. Include the original in your design workbook. Use a pair of scissors or a cutting or craft knife (recommended) and cut a stencil of your design. In other words, you need to decide if you are cutting away the black or white of your design. Mount your final stencil onto an A3 piece of paper. Make your own window mount and finally present your barcode.
123
Barcodes designed by Grade 10 learners
Did you know... that the Freeplay wind-up radio is being used in many parts of underdeveloped communities and countries across the world as a vehicle to educate and communicate vital information? The World Bank, for instance, purchased these radios for distribution in Zambia as an educational tool for distance teaching. In Bosnia the wind-up radio is used to communicate landmine warnings, and in Uganda and Kenya it is used to communicate a massive AIDS awareness campaign. These are all communities that were unreachable either due to lack of funds or inadequate infrastructures. This is another example of how design can create a better life for all! (Design solves problems and improves standard of living; a socially and environmentally responsible product)
Publication: Thirty years of South African Design Excellence. See details on page 333 if you want to have your own copy.
http://www.freeplayenergy.com/
PRACTICAL PROJECTS
124
Activity 24
PRACTICAL PROJECTS
Geometric shapes, a two-dimensional (2D) project Learning about basic shapes Your objectives for activity 24 should include: an understanding of simple 2D geometric shapes exploring and understanding different facets of a 2D geometric shape when looking at the shape from different perspectives/angles extending your awareness of negative and positive shapes further development of your creative, innovative and problem-solving skills extending your awareness of rhythm and composition extending your development of technical skills
The brief/project
Choose ONE of the following geometric shapes A circle A square/rectangle A triangle
The design process Remember to document all processes in your design workbook. 1. Draw twelve variations of your chosen shape. In other words, if you choose a circle, you need to draw twelve different circles: draw this 2D circle from various angles. Your shapes will vary from a full circle to an oval to almost a thin line. See examples below:
2.
Combine/overlap/interlock two shapes at a time. You should thus be left with six groups, each group existing of two shapes.
125
Please note that the one shape may not cut completely through to the other side of the other
3. 4. 5. 6. 7. 8.
The body of the shapes must be in black while the area where the shapes overlap must be white and will be identified as the negative space. Extend your creative thinking and explore different options for overlapping different shapes. Each option will have a different result. Choose the most creative options. Even the way you overlap and the parts of the shapes that you choose to overlap should be carefully considered so that your negative shapes (white areas or overlaps) can be introduced as new shapes to your final design. Photocopy/copy the six groups accurately so that you have more than one copy and different sizes of each group. Cut out the groups and use the table surface to move the shapes freely around until you find a composition that you like. Become aware of how the position of the shapes and groups directs your eye in a specific direction. Choose a final composition/layout that will include all six groups. This composition/layout must emphasise a specific rhythm/pattern (like a spiral, for instance). See examples 1-3, on the next page. Transfer your final composition onto a new A3 piece of paper.
PRACTICAL PROJECTS
shape (see examples below).
126
9.
Use any colour paper and cut out each group. Cut away all the negative shapes (white) and place your groups in the desired composition. You may vary the sizes of each group if you think it will emphasise your pattern/composition. See examples 1-3 below.
PRACTICAL PROJECTS
10.
Drawing Programme
DRAWING PROGRAMME
128
MODULE 1: TERM 1 Drawing Programme
A SHORT INTRODUCTION TO YOUR DRAWING PROGRAMME

DRAWING PROGRAMME
The act of drawing gives us the ability to really see and document what we see. Another chicken and egg situation, because as much as our enhanced sight will train us to draw better, we have to practise the skill and act of drawing more and more to develop our sight. This drawing programme will introduce you to classic drawing methods and techniques used for centuries by artists and designers from all over the world. We invite you to experience each exercise as if you are seeing for the rst time. The programme will give you a strong foundation that will stand you in good stead as an emerging designer and will also assist you in preperation for that very important portfolio needed in Grade 12, when the quality of your drawing skills will determine your acceptance into a design or architectural school. The selected drawing exercises are crucial in improving and developing hand-eye coordination, observation skills and technical skills. With consistent practise, you will be able to record information realistically, develop your own style, create your own ideas, work with your own prefered tools and media and be able to condently apply your skills to any of the four design categories. We are all familiar with the saying: All great ideas start on paper. Acquire an A4 or A3 sketch book for these exercises and carry it with you at all times. You can buy or even make your own sketch book. The general idea: To continue to do lots and lots of thumbnails and sketches. The aim: Drawing should become second nature to you and will stand you in good stead if you want to become a great designer and observer. One Tip Always discover the real world through drawing it. Work as far as possible using real-life images and limit yourself from copying objects out of books and magazines. To draw every day and anything will enable you to design anything. Have fun while you become a master of the art of drawing! Make this a lifelong commitment.
MODULE 1 LINE: DEFINING SHAPE and FORM

Line is the fundamental mark used in drawing. Yet line is an artificial device that we interpret as representing something. In nature, line does not exist the same way we use it in design. In nature, it is an edge that defines a shape and not a line. One of the prime uses for line in design is to define edges or contours.
Exercise 1: Continuous contour line drawing

Definition: Continuous contour line drawing is a process of drawing a line where one must focus on a single point and follow the contours of the object without lifting your pen or pencil from the paper. Yes, the end result is not supposed to look perfect but should rather seem incorrect, imperfect or odd.
129
Objective: The ultimate goal is to draw while only using one line to suggest the contour or outline of a form interpretation of the object, but rather to learn how to see. The brains activities should rather focus on the specifications of the exercise in order to achieve certain skills, than be concerned about what the end result will look like. Lastly, to improve observation skills, draw with ease and improve eye-hand coordination. Working method: Choose any inanimate (not moving) object in the room where your are working, for example chairs, brooms, bottles, etc. Divide your A4 or A3 paper into four squares or thumbnail (small) sketches. Draw the same object 4 times, but in different positions. Focus on the outline of the object and remember not to lift your pen or pencil from the paper when drawing. You may look at your drawing but, look more at the object than the drawing itself. It is very important that you do these exercises very slowly. Do not finish ahead of the proposed time limit. Use a timer or stopwatch. After completion, beneath each exercise write the name of the exercise and the time spent on executing each sketch. Materials needed: A4 or A3 paper; newspaper, or cartridge or reviva or any other paper available. Use an HB or 2B or 4B pencil. Time needed: Spend 5 minutes on the first two sketches, 4 minutes on the third and 3 minutes on the last sketch. Tips: Pencils must be sharp at all times. Start with pencils, but as you progress and become more condent and advanced, proceed to using pens and brushes. * See these exercises as warm up exercises that should be done prior to any final drawing or design. By keeping all your exercises in a sketch book, you will clearly see how you have developed over the years. Examples of continuous contour drawings: The drawings and paintings which comes to mind when referring to continuous contour line drawing, is the Swiss Surreal artist Paul Klee who defined line as...
A dot out for a walk or taking the line for a walk

Paul Klee Burdened Children 1930
Illustrations below showing step-by-step how to create a continuous contour drawing of a still life with apples, step by step.
DRAWING PROGRAMME
or shape. Another goal would be to convince your left brain that this exercise has nothing to do with a rational
130
DRAWING PROGRAMME
Nadia du Plessis
Joshua Weyers
Students from Stellenberg High School
Ask your teacher for the rest of the drawing program and more examples and inspiration of continuous contour drawings done by the industrial designer Alfredo Hberli, the graphic illustrator Will Scobie, surface designer Bridget Parker, interior designer Boris Hoppic and furniture designers Sam Johnson and Daan Mulder. This is all available on the on the CD they have received.
The rest of the content for term 1 includes: Exercise 2: Blind continuous contour drawing Exercise 3: Drawing with non dominant hand & drawing with two HB pencils simultaneously Exercise 4: nding meaning in scribbled forms and shapes
Exercise 5: Graphic Illustration: line creating texture, tone & pattern


Design Grade 10

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Design Grade 10

Uploaded by

Copyright:

Available Formats

This is a sample module for viewing purposes only. To purchase a copy of this title contact info@futuremanagers.

Copyright Future Managers

Copyright Future Managers

Book cover & layout design - ctb Design

Module 1 Term one What is design?

Logos, corporate ID, advertising, branding Design in a business context

Case studies 231 Practical projects 239 Drawing programme 245

Module 3 Term three Can design benet society?

Copyright Future Managers

273 277 283 285

Module 4 Term four Product Design and Usability

7. Drawing programme 311 8. Final practical project 315

Copyright Future Managers

Introducing the world of design

A better world through creativity

Copyright Future Managers

Design affects almost every aspect of our lives

Copyright Future Managers

Copyright Future Managers

Copyright Future Managers

Copyright Future Managers

Copyright Future Managers

Exercise - Line drawing

Copyright Future Managers

Activities for learners

Copyright Future Managers

Activity 3 (see page 9)

Activity 4 (see page 10)

Copyright Future Managers

Copyright Future Managers

Copyright Future Managers

EMOTIONS COLOURS TEXTURES SHAPES/FORM

The Ice Breaker

Copyright Future Managers

Activity 7: Essay writing

Some qualities of a good designer

Copyright Future Managers

An example of the Ice Breaker done by a Grade 10 learner

The Design Process

MODULE 1: TERM 1 Introducing the world of design

Brief from client

Evaluate and suggest improvements Produce product; system; service; environment

Select best idea/ solution Reflect on end result

Copyright Future Managers

The design process is of vital importance. Not just the

of the brief, the client, the profile of potential consumers

The impact of design and creativity in the early developmental stages

Examples of educational toys for pre-schoolers

Copyright Future Managers

Copyright Future Managers

Copyright Future Managers

Developmental skills for life

Copyright Future Managers

MODULE 1: TERM 1 Introducing the world of design

Copyright Future Managers

As a stylist, she believes that every line has a function

Copyright Future Managers

The Industrial Designer

OXO GoodGrips logo

Using his creativity, this designer is making a difference in peoples lives

Another Industrial Designer WHAT IS DESIGN?

Bill Moggridge talks about Service Design: http://youtu.be/wwiae9-c0K0

Denition of industrial design

Ugliness doesnt sell