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

MEMORANDUM

SECTION A: DESIGN LITERACY (30 marks in total) 

• Understand design theory and use design terminology correctly.
• The recognition of the characteristics of each movement in all four categories of design. 
• Understand and interpret signs and symbols, stereotyping, bias and prejudice in design. 

QUESTION 1: ‘UNSEEN’ DESIGNS TESTING VISUAL LITERACY 
1.1 1.1.1 (Allocate 2 marks) 

• The product seen in FIGURE A is suitable for the tourist market as the national flower of South Africa, the Protea, is seen displayed as the image on the bangle. Overseas visitors would delight in purchasing a product which shows displays a national symbol of the country of which they visit. ✔
• Any woman in South Africa who feels national pride and who appreciates the flora of our country would feel proud to wear a beautiful fashion accessory as seen in FIGURE A which displays the Protea flower, South Africa’s national flower. ✔ (2) 

1.1.2 (Allocate 8 marks) 
Shape and form (element): 

• The image on FIGURE A makes use of flat, stylised, organic shapes of a Protea flower with its petals and leaves the different sizes which bring variety to the design. ✔
• Whilst the image of the Protea is flat and 2-dimensional, it is engraved onto Perspex in the form of a 3-dimensional bangle for the purpose of wrapping around the wearers’ arm. ✔ 

Balance (principle): 

• Balance refers to the visual weight in design. The bangle seen in FIGURE A shows asymmetrical balance as there is a contrast in size of the engraved image, as on one side of the bangle the large head of the Protea flower is shown visually balancing/creating an equilibrium with the compacted petals and leaves on the other side of the bangle. Unity with variety of visually balanced images create harmony in the design. ✔ 

Movement/rhythm (principle): 

• Rhythm is created through the repetition of the protea petals and leaves creating a gentle flow in the design. ✔
• Implied movement is shown in this fixed image as it does not have the ability to move, however a rhythmic movement is created with the protea petals and leaves facing in the same direction, which creates a continuous and harmonious feel to the design. ✔
• Rhythm is created through the repetition of similar images such as the outer edges of the protea petals and leaves forming the shape of the bangle which creates interest and variety in the design. ✔

Focal point/emphasis (principle): 

• The focus/emphasis is placed on the image of the Protea on the bracelet, with the flower head and leaves, due to the fact that there is a strong contrast of the striking gold linear image of the Protea against the transparent Perspex of the bangle. ✔
• The focus/emphasis can also be said to be on the outline/contour shape of the bangle as the edge of the Protea petals create the outer edge of the bangle, which also creates a striking contrast to the very flat Perspex material used to create the bangle. ✔ 
• The focus/emphasis of the image on the bracelet is the head of the protea flower as it is larger and more dominant than the rest of the image. It is also a very different shape to the petals and leaves shown throughout the rest of the design. The effect created is the element of surprise, by adding something different. ✔ 

Credit any well-reasoned answer. (8) [10] 

OR 
1.2
1.2.1 (Allocate 8 marks) 
Tone/Tonal value: 

• A tone/tonal value of a colour is when a lighter or darker version of the same colour is used. The white colour that dominates the design of the lamp seen in FIGURE B is brought to life with the lamp lighting up.
  A wide range of tonal values of white is seen as the light is illuminated.
  This monochromatic range of whites create a gentle and sophisticated harmony. ✔ 

Unity and variety: 

• Unity is achieved due to the repetition of petal-like shapes. ✔ These petal-like shapes, which open and close and resemble a lotus flower, are varied in size as they are larger at the base of the lamp and decrease in size towards the top of the lamp, which creates variety.
  This unity, along with the variety, creates harmony in the design of the lamp, as all the parts work together to achieve a coherence of the whole creating harmony to form a successful whole. ✔ 

Texture: 

• The lamp has tactile smooth quality as it appears to be made from Perspex or plastic. ✔ This smooth surface brings a level of sophistication and quietness to the design. ✔

Pattern: 

• Pattern occurs when shapes are repeated. In FIGURE B pattern is evident in the bands of organic petal-like shapes being repeated to create the overall form of a lotus flower. The repetition of these bands of petal-like shapes around the form of the lamp gives the design unity. ✔
• With the repeating of the same organic petal-like shapes throughout the design of the lamp, all the parts work together to achieve a coherence of the whole creating harmony to form a successful whole. ✔
• The pattern of the lamp is very modular as it is composed of many different parts/shapes which are repeated. This pattern appears to resemble the petals of a flower turning a conventionally static object into a playful, tactile experience as the petal-like shapes are able to open up into what appears to be a flower in full bloom. ✔
  Credit any other well-reasoned answer. (8) 

1.2.2 (Allocate 2 marks) 

• Bio-mimicry means imitate and is the practice of learning from and then emulating natural forms to solve human problems and create more sustainable designs. Bio-mimicry is therefore evident in FIGURE B as the lamp is composed of petal-like shapes which are able to open up/expand outwards revealing more illumination from the lighting device which is central to the design. ✔ This mimics the opening and full bloom of a flower. ✔ 

Credit any other well-reasoned answer. (2) [10]

QUESTION 2: COMMUNICATION THROUGH DESIGN 
2.1
2.1.1 (Allocate 1 mark) 
MESSAGE CONVEYED BY THE POSTER 

• The message conveyed in the poster is the social issue relating to the danger of cyber bulling and how it could even lead to victims committing suicide. Through the message of the poster there is an offer of advice and guidance for young people who are affected by both cyber and offline bullying, by allowing them to connect online with fully trained online counsellors. ✔
  Credit any other well-reasoned answer. (1) 

2.1.2 (Allocate 4 marks) 

• Symbolically the centrally placed silhouette of the open hand shows that the person/victim of cyber bullying is exposed, vulnerable and feeling weak. ✔
• The layout shows a centrally placed silhouette on a black background which symbolises that the victim does not have an identity, ✔ that this is simply another unidentified person suffering from this form of abuse, feeling emotionally empty. This simple, stylised image is bold and dramatic showing the victim is isolated, surrounded by darkness and in a seemingly empty black void. ✔
• All the bold text, diminishing in size the further away it is seen falling away from the victims arm alludes to the victim being overweight as words such as ‘fatty’, ‘lard ass’, ‘loser’, ‘pizza face’, et cetera are used. This reinforces the message from bullies that they aim to diminish the victim until they have completely faded away, just like the cruel comments. ✔ This text of cruel comments is also seen in bold red colour, symbolising danger and fear. ✔
• The red text across the wrist of the victim symbolically portrays that the person is slitting his or her wrist and bleeding in an attempt to kill the emotional pain or commit suicide. ✔
• Simple white and also red sans-serif typeface against a black background effectively conveys the powerful message at the top of the poster, with the slogan ‘Sticks and stones may break my bones, but words can kill’. ✔ The clear and simple sans-serif text, then changing to dramatic red colour, offers advice and guidance for young people who are affected by both cyber and offline bullying, by allowing them to connect online with fully trained online counsellors. ✔
  Credit any other well-reasoned answer. (4) 

2.1.3 (Allocate 2 marks) 
THE GESTALT PRINCIPLE OF FIGURE AND GROUND ✔ can be applied as the silhouette of the hand is naturally perceived as figure (object) while the surrounding area is perceived as ground (background). ✔ 
Credit any other well-reasoned answer. (2)
2.2
2.2.1 (Allocate 1 mark) 

• A stereotype is a fixed impression on groups of people or individuals having certain characteristics, or fulfilling prescribed roles. Therefore the possible stereotype that can be applied to the poster in FIGURE B is seen in that it idealises Desmond Tutu as a peaceful and religious icon, without taking into consideration that like every other human being he has inherent human flaws. ✔
  Credit any other well-reasoned answer. (1) 

2.2.2 (Allocate 2 marks) 

• Desmond Tutu is seen wearing a cross (crucifix) on a chain, a symbol of the Christian faith which he follows. ✔
• The white dove is seen on Desmond Tutu’s shoulder. This is a stereotypical symbol and demonstrates the message of peace and purity in the design. ✔
• Angels blowing their trumpets are seen in the top corners of the poster design. This Christian symbol also supports the personal Christian trait of Desmond Tutu which communicates the idea of goodness and purity through his spiritual guiding of people. ✔
• Desmond Tutu’s hands are seen in the symbolic giving gesture. This symbolic positioning of his hands demonstrates his open and giving nature and how is he has a servant-attitude to the people that he guides. ✔
• The entire illustration appears to represent Christianity. The beautiful sinuous curved plant-like design in the background resembles a Gothic stained-glass window, in the typical pointed arch style, as seen in cathedrals. Gothic style font is used to display the name of Desmond Tutu. ✔
• The all-seeing, all-knowing eye of God at the top of the poster design is understood as a symbol of protection and healing, and guidance of divine power. ✔ 

Credit any other well-reasoned answer. (2) [10]

QUESTION 3 
Answer EITHER QUESTION 3.1 or QUESTION 3.2. 
3.1 (Allocate 10 marks) 
The marking guideline has only been written in bullet form to facilitate marking. 
Candidates must write a single essay, without the use of bullets, to show their ability to evaluate and compare through the application of factual information. 

MATERIALS: 
The Xhosa bridal necklace in FIGURE A is made predominantly from glass beads in a variety of colours, constructed with thread and also including a few mother-of-pearl buttons. ✔ The Indian bridal necklace in FIGURE B is very lavish and extravagant in comparison to the Xhosa beaded bridal necklace with semi precious stones such as rubies and pearls set in gold. Gold is considered an essential ritual metal when it comes to weddings in India. ✔ The monetary value of the Indian bridal necklace is much higher than the Xhosa bridal necklace due to the high value of the materials used, yet both are very rich in their significance and symbolism for the wedding ceremony. ✔ This does not mean that the Xhosa  bridal necklace’s value is inferior relative to that of the Indian necklace. 

SHAPE AND PATTERN: 
In FIGURE A, the traditional diamond-patterned bead collar-style decoration is seen encircling the bride’s neck and falling gently onto her chest and shoulders. On top of this, a long, narrow white beaded band with diamond shapes woven into it, is also placed around the bride’s neck, with beaded tassels falling vertically down the front of the bride’s chest. ✔ The shapes seen in the Xhosa bridal necklace are all geometric, with the zig-zag formation of the beadwork in the collar creating the diamond shapes. ✔ In FIGURE B the jewelled necklace is composed of three rows of semi-precious stones set in gold, also fitting around the bride’s neck, with a large pendant drop design falling vertically from the front of the tiered necklace. ✔ 
In the Indian bridal necklace paisley shapes are seen in the three tiers/rows around her neck, with a rectangular shaped section at the front. From this hangs an elaborate cluster consisting of a large paisley shaped stone with smaller paisleys radiating out from this and edged with round pearls. ✔ Both FIGURE A and FIGURE B show symmetrical designs with both sides of the bridal necklace being the same, however the use of space with pattern of the Xhosa design is less saturated/crowded than the pattern formations seen in the Indian design. ✔ In both designs one sees shapes of either beads or semi-precious stones which, when repeated, forms beautiful patterned designs. ✔ 

UNITY: 
Unity is achieved in the way that all the elements in the design are organised, like the use of specific colours, the even distribution of colours, choice of materials, shape, texture and line, as seen in both FIGURE A and also FIGURE B. ✔ 
In FIGURE A, both the collar of the Xhosa bridal necklace and also the long overlay band contain diamond shapes, all consist of the same colours and both sections of the necklace is made from glass beads, which unify the entire design.
The overlapping of the two sections also unites the two into one design. Unity and harmony are thus created through the organisation of all these elements. ✔ In FIGURE B, the entire necklace is made from gold and set with paisley-shaped segments and pearls which are distributed evenly throughout the design, which unifies the design, creating a balanced and unified whole. ✔ 

AESTHETIC APPEAL: 
With both the Xhosa bridal necklace in FIGURE A and the Indian bridal necklace seen in FIGURE B, the bead work communicates the wearer’s social status and wealth. ✔ Both cultures use specific colours in their traditional bridal ceremonies because by doing so the ritual performance or the tradition is retained. ✔ Xhosa beadwork is also often sought after in the tourism market as many overseas visitors purchase these items as mementos of their South African experience as the beadwork offers authentic African origin and expression. ✔ The elaborate Indian necklaces are often very valuable with the gold and semi-precious stones and perhaps even diamonds. The wife will wear the necklace from the wedding ceremony as long as she or her husband is alive as a sign of their love and commitment to one another. ✔ The Xhosa bridal necklace is more simplified with its geometric pattern formations compared to the elaborate, richly ornate Indian bridal necklace, but each design represents of its own valuable culture through the traditional bridal ceremony. ✔ 

PRODUCTION TECHNIQUE: 
FIGURE A shows a beaded Xhosa bridal necklace. This hand-made beaded necklace is crafted by women. ✔ Their beadwork is a way of communicating without words. This is done through patterns, styles and colours and each is particular to a specific group. Therefore, the wedding necklace holds symbolic meaning for this special occasion as messages are woven into decorative geometric designs. ✔ FIGURE B shows a bridal necklace manufactured from metal such as gold and inlaid with semi-precious stones, the hanging pendant portion trimmed with pearls. ✔ These bridal necklaces are largely mass produced unless a unique hand-crafted necklace made by a jeweller is desired. ✔ 
Credit any other well-reasoned answer. [10] 

OR
3.2 (Allocate 10 marks) 
The marking guideline has only been written in bullet form to facilitate marking. 
Candidates must write a single essay, without the use of bullets, to show their ability to evaluate and compare through the application of factual information. 
In this question, the candidate is expected to compare and should be penalised for writing two separate essays, or for information supplied in a table form (maximum 3 out of 10). 
This comparative essay compares the SA Perm Building in FIGURE C with the Pantheon Temple, a Classical Roman building. The candidate may choose any other suitable example for the comparison. 
CONTEXT: 

• The Roman Pantheon is an example of a Roman temple, whereas the SA Perm Building is a contemporary public/secular building showing influences and features of ancient Roman architecture. ✔✔ 

PURPOSE/FUNCTION: 

• The purpose of the Pantheon is not known for certain but the name, porch and pediment decoration suggest a temple of some sort. ✔✔ The Pantheon may have been designed as a place where the emperor could make public appearances in a setting, which reminded onlookers of his divine status as equal to the other gods of the Roman Pantheon. ✔✔ The purpose of the SA Perm Building is for the facility of banking investments and conducting financial transactions. ✔✔ 

LAYOUT/PLAN: 

• From the outside, both the Pantheon and the SA Perm Building appear as a solid, closed collection of geometric forms. ✔
• The Pantheon is one solid, circular form under a coffered concrete dome, with a central opening (an oculus of 8,3 m in diameter) to the sky. This oculus floods natural light into the circular form, known as the rotunda. ✔ However, although the SA Perm Building is not circular, but featuring rectangular interior spaces, there is a large central skylight down the spine of the building which floods natural light into the interior. ✔
• Both buildings have interior spaces filled with glowing light due to the vaulted forms and the light flowing in from the light source overhead. ✔
• The Pantheon is fronted by a large portico/porch of large, vertical granite Corinthian columns under a triangular pediment, almost appearing to be a separate section attached to the rotunda, ✔ whereas the entrance of the SA Perm Building is flush with the front façade of the building and features sturdy concrete columns underneath an arch and a roof structure somewhat reminiscent of a Greek pediment. ✔
• The large rotunda section allows for a large gathering of people ✔ and the SA Perm Building allows access for a controlled amount of people to enter and conduct their financial requirements. ✔
• The interiors of both the Pantheon and the SA Perm Building are encircled by columns; marble Corinthian columns are set on either side of niches containing statues of deities in the Pantheon, ✔ whilst the SA Perm Building’scast concrete columns are slender with plain capitals and seen forming colonnades within the large entrance/foyer. ✔ 

MATERIALS AND PRODUCTION TECHNIQUES: 

• The Pantheon, made from a Roman concrete known as mortar, is clad in marble. ✔ The dome is coffered to help reduce its weight; it is 6,4 m thick at the base and 1,2 m thick at the oculus. The bottom of the dome is made from mortar/concrete, then lighter materials, ending off with light porous pumice stone at the top. ✔ The downward thrust of the dome is carried by 8 barrel vaults in the 6,4 m thick wall. ✔
• The SA Perm Building is constructed from red facebrick and reinforced concrete, steel and glass. ✔ Modern machinery and technology was used for construction of this contemporary building. ✔ Being a facility dealing with substantial amounts of money, it would then have an integrated building control system allowing for efficient and centralised operation programming, including surveillance, alarm systems, electric systems, etc. ✔ 

RELATION TO THE SITE: 

• The Pantheon dominates the site on which it was built, with streets on all sides of the building. ✔ The SA Perm Building steps directly off the busy pavement in High Street in Grahamstown, the main street of the town. ✔

Credit any other well-reasoned information. [10] 

TOTAL SECTION A: 30

SECTION B: DESIGN HISTORY 

• History of Design: Including Greece, Rome, Gothic, Baroque, Rococo, Neoclassical, Victorian, Arts and Crafts, Art Nouveau, Bauhaus, Art Deco, Scandinavian, De Stijl, Modernism, Popular Culture, Pop/New Age and Post Modernism.
• An overview of architecture, in which classical examples are compared with contemporary works.
• Visual Analysis (unseen examples of design): basic terminology that describes and underpins design and characteristics, to be used with confidence. 

QUESTION 4 (30 marks) 
4.1 (Allocate 20 marks in total) 
LEARNERS MUST CHOOSE TWO FROM A POSSIBLE NINE DESIGN MOVEMENTS/STYLES/TIME PERIODS. 
NOTE: 
For each of the styles or movements candidates must emphasise the characteristics of that movement that reflect on the quote included. 
The chairs as seen in FIGURE A are merely to assist the candidates with recalling characteristics of the movements/styles. They may refer to any architecture structures or products from the chosen movement/style. 
‘The designer’s true role is to better the things which surround us not only in terms of function, appearance, cost and material but also in terms of aspiration and desire – in the dream of how good life might be.’ Terence Conran 

BAUHAUS 
The movement/style in context: (Allocate 1 mark) 

• The Bauhaus was founded in a time when the German zeitgeist turned from emotional Expressionism to the matter-of-fact New Objectivity. ✔
• They tried to find solutions for the problems faced by the working classes during the depression years of post-World War I Germany. ✔ They used technology to create adequate housing and the development of high-quality, useful, mass-produced consumer goods that were well made. ✔ In order to improve their lifestyles, they desired to achieve aesthetically pleasing and functional products. ✔ 

Credit any other well-reasoned answer. (1) 
Aims: (Allocate 1 mark) 

• To provide healthy housing for a growing urban population under difficult economic conditions. ✔
• To take advantage of new technologies. ✔
• To achieve a breakthrough for rational and functional form in design (rationalism and functionalism emphasised). ✔
• To make products affordable for the masses through cost-cutting industrial mass production. ✔
• Their main objective was to re-image the material world and to reflect the unity of all the arts. ✔
• The Bauhaus school aimed to train their students to create designs that reflected the machine age, ✔ so that designs were pure, simple and functional. ✔
• They aimed to join all art and craft as a functional whole. ✔ 

Credit any other well-reasoned answer. (1) 
Influences: (Allocate 2 marks) 

• Bauhaus style was influenced by the simple unadorned furniture of the Arts and Crafts movement. ✔
• By the Cubist movement which believed in reducing objects to their most basic forms (the cube, cylinder and sphere). ✔
• By the De Stijl movement which created impersonal, abstract works of square and rectangular blocks of primary colours separated by vertical and horizontal lines of black or white; also by the smooth surfaces which looked as if created by machine and were based on mathematics. ✔
• By the American architect Louis Sullivan through his quote: ‘Form Follows Function’. This meant that objects adhered to the principle of purity and form and were left unadorned. ✔ 

Credit any other well-reasoned answer. (2) 
Characteristics: (Allocate 5 marks) 

• Initially the focus was on hand production using natural materials, then the focus shifted to incorporation of technology and industrial processes to create modern design. ✔
• The Bauhaus can therefore be seen to be functionalist rather than expressive and decorative. They encouraged design for mass production. ✔
• Design was modern, simple, quality focussed through production and manufacturing, universal, and functional. ✔
• Bauhaus design shuns ornamentation and favours simplicity, function and elegance. ✔
• They used asymmetry and regularity instead of symmetry. ✔
• Purity of form. ✔
• They stressed ‘truth to materials’ and ‘form follows function’. ✔
• Used new materials and technology like reinforced concrete. ✔ ∙ They used geometric shapes. ✔
• Lines were mostly straight and forms geometric. ✔
• Colours were mostly the untreated colour of the materials, such as steel and concrete and wood ✔ or pure, primary colours were used. ✔
• Surfaces were smooth, cold and impersonal. ✔
• They introduced different materials and techniques in simple, practical projects. ✔
• Dematerialised the conservative forms of furniture – e.g. furniture must be in its most basic and essential forms, stripped of decoration. ✔
• They produced prefabricated furniture. ✔
• They placed emphasis on examining the formal and physical properties of materials. ✔
• Chairs were simple and unadorned; light tubular steel frames were used for open structured chairs ✔ that could be mass produced. ✔
• Architecture had many features such as: steel-frame construction, a glass curtain wall, reinforced concrete, open-plan layout with moveable inside walls, undecorated facades, all services concealed in a central core of the building, reinforced concrete, cube-like structures, prefabricated units, machine-made components, purity of form. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Cantilever Chair – by Mies van der Rohe ✔
• Tubular Chair – by Mies van der Rohe ✔
• The Barcelona Chair – by Mies van der Rohe✔
• Zig-Zag Chair – by Gerrit Rietveld ✔ 
• Wassily Chair – by Marcel Breuer ✔
• Tac Tea Pot – by Walter Gropius ✔
• ‘Cradle’ – by Peter Keler ✔ 
• Tea-extract pot 1924 – by Marianne Brandt ✔
• ‘Ceiling Lamp’ – by Marianne Brandt ✔ (1)

(20) 

AND/OR 
GOTHIC 
The movement/style in context: (Allocate 1 mark) 

• After the fall of the Roman Empire, Europe was in a state of confusion and it was during this period when disease, war, violence and starvation were common. ✔
• The sense of fear that developed, superstitious beliefs grew and the Christian church grew as the new authority replacing the Roman emperors. ✔ ∙ The architectural style of the church developed into the Gothic style, with features and design motifs which evoke a spiritual or mystical atmosphere. ✔
  Credit any other well-reasoned answer. (1) 

Aims: (Allocate 1 mark) 

• The church had to tower above the village reaching towards heaven, to be the central point of focus, to give all glory to God. ✔
  Credit any other well-reasoned answer. (1) 

Influences: (Allocate 2 marks) 

• The state of confusion and fear experience during this period led the people to be drawn to strong belief systems, hence the building of very large churches and cathedrals. ✔
• The wealthy landowners, aristocrats, nobility and the Church ✔
• In architecture, the Roman basilica plan was adopted in the Gothic churches. ✔
  Credit any other well-reasoned answer. (2)

Characteristics: (Allocate 5 marks) 
Architecture: 

• Due to this new triumphant phase of Christianity, the construction of magnificent cathedrals was all important. ✔ 
• In a practical manner, the buildings were designed to provide more space and use less building materials. ✔ 
• Main elements of Gothic architecture included pointed arches, flying buttresses, ribbed vaults and stained glass windows. ✔
• Arches were pointed as the thrust of the pointed arch is downwards, compared to the rounded arch from the Roman era with its sideward spread of weight. ✔
• The flying buttresses transferred the weight of the upward rising roof down to the ground – this allowed for large window spaces in the walls (in other words, the walls did not have to be the only support for the roof). ✔
• The cathedral was also a museum of art – used to teach by art the history of the world and Christianity. ✔
• The cathedral was also the sanctuary of the famous and illustrious dead. Their tombs were its decoration and its pride. ✔ 

Furniture: 

• Large and heavy, dark wooden furniture (Oak, Rosewood, Walnut) ✔
• The pointed arch, along with intricate carving, features on furniture designs. ✔
• Gothic upholstery displayed rich and dark colours, such as purple, ruby, black, ochre, forest green and gold. ✔
• Fabric designs included geometrical and foliage patterns. ✔
• Gothic furniture was formal and not designed for comfort. ✔ 

Illuminated manuscripts: 

• These are illustrated hand-produced books or manuscripts which had gold leaf decoration added to the images or type. The gold leaf would reflect light off the page creating the impression of illumination. ✔
• These manuscripts were mostly religious and were produced in monasteries; decoration could include decorated initials, borders and miniature illustrations. ✔ 

Stained-glass windows: 

• These windows illuminated and added to the atmosphere of the Gothic church. ✔
• They had a narrative function, often depicting biblical scenes. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Architecture: Notre Dame Cathedral in Paris (1163-1250) ✔
• Architecture: Salisbury Cathedral in Britain (1220-1270) ✔
• Architecture: Chartres Cathedral in France (1140-1220) ✔
• Tapestry: ‘Lady with the Unicorn’ at Chateau Pierre d’Aubusson ✔ (1) (20) 

AND/OR

ART NOUVEAU 
The movement/style in context: (Allocate 1 mark) 

• They were also against (like Arts and Crafts movement) the unrefined mass produced articles of the late 19th century. ✔
• They created beautifully crafted objects ✔ but unfortunately failed to move with the times as designs were difficult to mass produce. It was too expensive. ✔
  Credit any other well-reasoned answer. (1) 

Aims: (Allocate 1 mark) 
It grew out of the Arts and Crafts movement so some of the aims were similar:

• To establish close links between artists and craftsmen in the design of products. ✔
• To revive the tradition of using skilled craftsmen. ✔ 
• However, they did not reject the idea of factory made goods, but instead they wanted to transfer the quality of handmade products to factory made products and made use of modern materials, e.g. metal and steel (wrought iron work) ✔ Credit any other well-reasoned answer. (1) 

Influences: (Allocate 2 marks) 

• Nature: in their reference to the natural world such as peacocks, lilies and trailing plants. ✔
• Japanese woodprints: with its simple, flowing decorative lines, ✔ stylised forms, grid patterns of room interiors, decorative patterns, and flat coloured shapes. ✔
• Alphonse Mucha: they were influenced by his paintings of women ✔
• Gustav Klimt: influenced by Klimt’s use of decorative pattern. ✔
• Celtic Art: with its elaborate, curving linear designs, ✔ and decorative twisting ribbon-like patterns. ✔
• Viking designs: with their fine lines and spirals, lavish ornamentation and romantic ideas. ✔
• Symbolism (an art movement of that time period): with its flat areas of colour, organic curved outlines, and sensual designs with curves based on nature and the female form. ✔
• The Arts and Crafts movement: with their natural flowing forms. ✔
• Late Gothic style: with its flamboyant lines and stained glass. ✔
• French Rococo Art Period: with their delicate lines and forms as well as the light, playful atmosphere of movement influenced Art Nouveau. ✔
  Credit any other well-reasoned answer. (2) 

Characteristics: (Allocate 5 marks) 

• Subject matter: animals, birds, plants. Very stylised roses (Rennie Mackintosh), sunflowers, lilies and peacocks, as well as sensuous female forms. ✔
• Products: textiles, ceramics, metal work, glassware, jewellery, furniture and architecture. ✔
• Materials: exotic materials, e.g. mother-of-pearl, lapis lazuli, ivory, iridescent coloured glass added to metal, ceramic jewellery ware and even furniture and wrought iron. ✔ They used expensive materials like silk, velvet and embroidery for textiles. ✔ They also used lacquered wood, inlaid with other materials for furniture pieces. ✔ Mosaics and stained glass were also popular. ✔
• Ornate and decorative. ✔ 

Elements of Design: 

• Line: whiplash line or serpentine line. Curvilinear and languid lines that are continuous and create stylised shapes. ✔
• Shape and Form: organic curvilinear shapes that reflect the rhythm of the whiplash line. ✔
• Colour: for interior they used subtle and subdued pastel colours, e.g. pinks, greens, yellows. ✔
• Colour: flat matt colour contained within curving outlines, generally used for poster illustrations, e.g. Posters by Mucha. ✔ 

Principles of Design: 

• Balance: predominantly asymmetrical ✔
• Contrast: large and small forms. Cool colours against warm ones. ✔
• Movement: the repetition of the whiplash line creates a sense of movement. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Jewellery: ‘Dragonfly brooch’ by Rene Lalique ✔
• Art Nouveau brooch designed by Winifred Green ✔
• Lamps: ‘Lotus Tale Lamp’ by Louis Comfort Tiffany ✔
• Metal work: Cornet dragon gate by Antoni Gaudi ✔
• Interior: stairs in the Van Eetvelde House in Brussels by Victor Horta ✔
• Furniture: ‘Cabinet Vitrine’ by Gustave Serrurier-Bovy ✔
• Poster: ‘Pen’ poster by Alphonso Mucha ✔
• ‘Job’ poster by Alphonso Mucha ✔ (1)

(20) 

AND/OR 
ARTS AND CRAFTS MOVEMENT 
The movement/style in context: (Allocate 1 mark) 

• Multi-storey buildings, factories, bridges and railway lines started to appear towards the end of the 19th century and rapid urbanisation often resulted in slums. ✔
• Factories proved to be serious health risks so the period was the beginning of socialism and protection of the rights of craftsmen. ✔
• This movement was a backlash against the forces of industrialisation in Britain. ✔
  Credit any other well-reasoned answer. (1) 

Aims: (Allocate 1 mark) 

• To encourage the production of handmade quality goods of visually aesthetic value, as opposed to low quality, over fussy mass-produced products. ✔
• To improve the life of designers and crafters ✔
• To re-establish the value and involvement of the skilled craftsman and designer. ✔
• To encourage the design of simpler, less decorative products. ✔
• To create and make products using undecorated, natural materials (e.g. wood and stone). This was to reveal the natural beauty of the materials. ✔
• To bring back social order, stability and good Christian values. ✔ Credit any other well-reasoned answer. (1)

Influences: (Allocate 2 marks) 

• The Medieval Gothic style, ✔ a period associated with order, stability and good Christian values. This was represented in designs by the use of the pointed arch as well as the Quatrefoil and Trefoil motifs and included mythical themes such as dragons. ✔
• The Rustic English cottage style ✔ – simple peasant or cottage style of architecture and handmade furniture – that made use of local materials left in their natural state (stone, wood), for example chairs with carved wood and woven seats. Floorboards were left bare and roof beams left exposed to reveal the natural beauty of the materials. ✔ This is known as ‘truth to materials’. ✔ 
• Influenced by everyday life scenes (genre) from nature, e.g. animals and flower motifs. ✔
  Credit any other well-reasoned answer. (2) 

Characteristics: (Allocate 5 marks) 

• The Arts and Crafts movement revived an interest in handicrafts such as embroidery, carving, block printing and stained glass windows. ✔
• Subject matter included plants, animals, birds and medieval design motifs (e.g. the trefoil and quatrefoil) ✔
• Products: textiles, furniture, ceramics, handmade leather-bound books, metal work and architecture. ✔
• Materials: natural materials such as wood and stone. ✔ They sourced local materials where possible. ✔ They used cast iron as the standard components in buildings as well as glass and steel. ✔
• Decoration: used to enhance the basic design – never for the sake of decoration alone. ✔ Ornamentation kept to a minimum. ✔ They stayed ‘true to materials’ in domestic arts (e.g. wood in furniture was not lacquered). ✔ They mixed diverse elements such as turrets, pointed arches and Georgian windows. ✔ 

Use of Elements and Principles: 

• Shapes: were simple and austere without any additional decoration (e.g. as seen in furniture). ✔ Textiles and ceramic designs were more organic due to the influence of plant and animals. ✔
• Colour: they made use of flat areas of bold colour in different shades of blue, yellow and red. They also made use of earth tones. ✔
• Balance: generally symmetrical due to the medieval Gothic influence of stability and order. ✔
• Unity: usually achieved through the repetition of organic lines or subject matter. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Textile (tapestry): ‘The Strawberry Thief’ by William Morris ✔
• Furniture: Morris arm chair by William Morris ✔
• Architecture: The Red House by Phillip Webb ✔ (1)

(20) 

AND/OR
SCANDINAVIAN 
The movement/style in context: (Allocate 1 mark) 

• Scandinavian design developed during the 1950s in Denmark, Norway, Sweden and Finland. ✔
• Immediately following World War II the availability of low-cost materials and methods for mass production made the concept of creating beautiful and functional everyday objects that could be afforded by everyone possible. ✔
  Credit any other well-reasoned answer. (1) 

Aims: (Allocate 1 mark) 

• To create beautiful, visually aesthetic and functional everyday objects that could be afforded by everyone. ✔
• To create simple, elegant designs without compromising on quality and without losing grace and beauty ✔ which softened the interior without cluttering it. ✔
  Credit any other well-reasoned answer. (1) 

Influences: (Allocate 2 marks) 

• The Modernist and Bauhaus movements with their artistic innovation as well as technological and social progress. ✔
• The evolution of modern furniture designs as art, technology and architectural theories combined and progressed. ✔
• Social democracy which developed in the 1950s caused the start of this movement. ✔
• Machinery, new technology and new materials that were available after World War II influenced them. ✔
• Sometimes the Surrealist movement inspired them. ✔
• Long winters with few hours of sunlight inspired Scandinavian designers to create bright, light and practical environments with clean lines. ✔
  Credit any other well-reasoned answer. (2) 

Characteristics: (Allocate 5 marks) 

• Colour: light coloured wood; designs printed in exciting, bright and cheerful  colours. ✔
• Pattern: simple and artistic printed designs, using a lot of stylised florals, dots  and stripes. ✔
• Form/shape: soft rounded edges; ✔ simple often organic shapes; ✔ biomorphic forms combined with harder-edged geometric forms, ✔ furniture  simple in shape with clean lines and smooth textures. ✔ They paid attention  to good craftsmanship and comfort. ✔
• Line: furniture had clean smooth lines with organic as well as straight lines; ✔ fashion saw simple A-line skirts and dresses ✔
• New materials: fibreglass, wood, rubber, plastic, vinyl and plywood. ✔ Form pressed wood, anodised or enamelled aluminium or pressed steel. ✔
• They used modern materials such as plastics to create simple stack chairs. ✔ ∙ Attention to detail and finish is emphasised. ✔
  Credit any other well-reasoned answer. (5)

Designer and a work: (Allocate 1 mark) 

• 3-D Product: Arne Jacobsen ✔ – Egg Chair ✔ or The Ant Chair ✔ 
• 2-D Product: Maija Isola ✔ – Marimekko fabric design ✔ 
• Architecture: Aalvar Aalto ✔ – Helsinki Cultural Centre ✔
• Communication: Anders Beckman ✔ – Swedish Air Lines poster ✔ (1)

(20) 

AND/OR 
BAROQUE 
The movement/style in context: (Allocate 1 mark) 

• The popularity and success of the Baroque style was encouraged by the  Catholic Church in response to the Protestant Reformation that the arts  should communicate religious themes in direct and emotional involvement. ✔
• The Baroque era is often thought of as a period of artistic style that used  exaggerated motion and clear, easily interpreted detail to produce drama,  tension, exuberance, and grandeur in sculpture, painting, architecture,  literature, dance, theatre and music. ✔ The style began around 1600 in Rome  and spread to most of Europe. ✔
  Credit any other well-reasoned answer. (1) 

Aims: (Allocate 1 mark) 

• Characterised by austerity and was intended to impress; express power and  control. ✔
• The aim of Baroque architecture was to apply the architectural elements in  the most visually aesthetic manner to create a sense of greatness and  dramatic effect. ✔
  Credit any other well-reasoned answer. (1) 

Influences: (Allocate 2 marks) 

• Baroque design and art is heavily influenced by the Counter Reformation: ✔ This refers to the period in history when the Catholic Church reflects on  church practices and principles and implements positive changes. ✔
• The church used Baroque art and design to reach out to the people and  promote a rebirth of faith. ✔
• Baroque design also appealed to the wealthy and aristocracy who were drawn  to the drama, scale and ability to impress. ✔
• Stylistically Baroque borrowed from the Medieval and Renaissance styles. ✔
  Credit any other well-reasoned answer. (2) 

Characteristics: (Allocate 5 marks) 

• Baroque buildings are colossal with dramatic proportions, ✔ displaying  massive staircases✔ and columns and complicated, elaborate decorations. ✔
• Both buildings and furniture show angels, cupids and saints as sculptures,  figurines, wall décor and fountains. ✔ 
• Emphasis on the oval shape; sweeping and curved surfaces, ‘c’ and ‘s’ scrolls  and shell motifs. ✔
• Baroque style is also known as the ‘Heavy Style’ ✔ 
• A variety of swelling rounded and curvy forms were used. ✔
• Designers made use of wealthy, glossy materials such as marble, gilding and  bronze. ✔
• There are dramatic combinations of architecture, sculpture, silver, silks, rich  tapestries and luxurious finishing. ✔
• The furniture designs are imposing and are the work of sculptors not  carpenters. ✔
• The use of gold, precious metals, mirrors and marble predominates. ✔
• Examples of Baroque design have dynamic compositions, ✔ a sense of  drama (theatrical), ✔ strongly contrasting colour and interplay between light  and shadows. ✔ Strong emphasis is placed on drama and movement. ✔
• Many designs refer to religious content, a move away from the pure  Renaissance focus on logic and reason. ✔
• Emotional and dramatic themes. ✔
• Interiors dazzled with the lavishness of gold, silver, silks, rich tapestries and  luxurious furnishings. ✔
• Pompous facades with gables. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Ceiling Fresco: Triumph of the Name of Jesus by G. Battista Gaulli (Rome) (1672–85) ✔
• Interior: Hall of Mirrors at Versailles by Hardouin Mansart and Le Brun (1678) ✔
• Architecture: Colonnade of St Peter’s by GIanlorenzo Bernini (Rome) (c. 1656) ✔
• Product: Baldacchino(Altar) in St Peters by Bernini, (Rome), (1624–1633) ✔
• Graphic: The Elderly Fool and His Cat by Alexander Voetll, (17th century) ✔ (1)

(20) 

AND/OR 
RENAISSANCE 
The movement/style in context: (Allocate 1 mark) 

• It marked the beginning of objective scientific experimentation, research and rational thinking. ✔
• Great thinkers, artists and designers like Michelangelo, Leonardo da Vinci and Raphael gave visual expression to the ideals of the Renaissance. ✔
• They encouraged innovative thinking, ✔ some examples of which are: 1455 – The printing press with moveable metal type, by Johannes Gutenberg which marked the beginning of printed information becoming available to all those that could read. ✔
  1606 – The astronomical telescope invented by Galileo Galilei. It is the beginning of objective experimentation as we know it. ✔
  1629 – The steam turbine by Govanni Brance. ✔
  1714 – The mercury thermometer by Gabriel Fahrenheit. ✔
  Credit any other well-reasoned answer. (1)

Aims: (Allocate 1 mark) 

• Reasoning, questioning and the representation of the human figure as an individual were important. ✔
• Humanism is the Renaissance philosophy which maintains that every individual has the right to think, reason, question and decide their own beliefs. ✔
• The word Renaissance means the revival/rebirth of something. In the 14th and 16th centuries it referred specifically to the return to classical ideals in art and architecture as well as a return to reason, thought and objective experimentation in science. ✔
  Credit any other well-reasoned answer. (1) 

Influences: (Allocate 2 marks) 

• The Renaissance was a rebirth of the Roman traditions of design and architecture. ✔✔
• Product design often features ornamentation inspired by Michelangelo and Raphael. ✔
• Mythological and Biblical figures are often incorporated. ✔
• Artists from the early Renaissance period used the natural world as a reference for their art and often art considerations were approached through observation and systematic investigation. ✔
• The rational approach visualised by these artists differs greatly from the purely faith-inspired artefacts, designs and art from the medieval and Gothic periods. ✔
• There was a focus on direct observation and the accurate reflection of nature. ✔
• There was also a focus on idealism and perfection. ✔
  Credit any other well-reasoned answer. (2) 

Characteristics: (Allocate 5 marks) 

• Design during the period is characterised by naturalism; ✔ the organisation of space; ✔ the use of perspective; ✔ a revival of classical ideals and motifs. ✔
• Visual aesthetics was most important to the Renaissance artists and designers, and architecture emphasises harmony and balance. ✔ This was achieved through symmetry, mathematical geometry, scale and proportion in the Greek tradition. ✔ Architecture of the time includes columns, hemispherical domes ✔ and semi-circular arches. ✔
• Building designs were frequently square or rectangular with the emphasis on symmetry. ✔ Facades were generally symmetrical around the vertical axis. ✔
• Furniture design is true to the purpose of the piece, ✔ and often incorporates mythological or Biblical figures. ✔ Walnut was a common wood of choice. ✔
• Wooden chests and beds were key pieces of furniture during the Renaissance. ✔
• Furniture design included inlaid panels of wood as well as detailed carving of scenes from nature and everyday life. ✔
• Rope beds consisting of an oblong-shaped framing of wood with interlocking  ropes were popular. ✔
• The Renaissance is also known for its very fine tapestries. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Jewellery: Pendant designs by Hans Holbein (c. 1532–1543). ✔
• Architecture: St Peter’s Cathedral by Michelangelo, (Rome), (1546–1564) ✔
• Engraving: The temptation of St. Anthony by Schongauer, (c. 1480–1490) ✔
• Product: Canopied ceremonial bridal bed by Pieter Kolding, (c. 1640–1650) ✔
• Woodcut: Four horsemen of the Apocalypse by Albrecht Durer from 1498 ✔
• Architecture: Dome of Florence Cathedral by Filippo Brunelleschi, (1420) ✔ (1)

(20) 

AND/OR 
ART DECO 
The movement/style in context: (Allocate 1 mark) 

• Art Deco was about sensational, carefree modern living and daring new designs. ✔
• They were fascinated by speed, technology and ancient cultures. ✔
• They tried to escape through the unreal environments they created. ✔
  Credit any other well-reasoned answer. (1) 

Aims: (Allocate 1 mark) 

• To respond to the demands of the machine and of new materials as well as the requirements of mass production. ✔
• To create a new style for a new century. ✔
• To create good-quality, practical, mass-manufactured pieces from innovative, industrial materials. ✔
  Credit any other well-reasoned answer. (1)

Influences: (Allocate 2 marks) 

• Early 20th century painting movements, with particular reference to:
  • Cubism (abstraction, distortion and simplification) resulting in the use of straight lines, the zig-zag and layered geometric shapes. ✔
  • Constructivism with its abstract shapes and use of non-traditional materials (e.g. Perspex) and the industrial method of welding. ✔
• Speed and technology - the development of the machine, the motorcar and aeroplane and the study of aerodynamics. ✔
• African art and the American Jazz culture. ✔
• Egyptian motifs (the lotus bud and the papyrus) ✔
• Aztec and red Indian motifs (stepped Aztec ziggurat shape) ✔
• The surface effects and techniques of Oriental art (layers of oriental lacquer, e.g. shellac) ✔ and the use of inlays of pearl, tortoise shell, snakeskin and sharkskin coverings. ✔
• The Russian ballet with their use of brilliant colours and patterns in their theatre designs. ✔
• The worldwide movement, Modernism, with its emphasis on non representational motifs, clean lines and pure geometric forms (later Art Deco period). ✔
  Credit any other well-reasoned answer. (2) 

Characteristics: (Allocate 5 marks) 

• Themes: Egyptian motifs, anything popular and trendy and the Jazz Age ✔
• Motifs: Sunbursts, zig-zags ✔
• The art and sculpture of Africa with its strange distortions and jagged planes. ✔
• Aeroplanes, trains, cars – a preoccupation with travel and speed. ✔
• The fashionable female figure in profile. ✔
• Shape: the emphasis was on flat, 2-D designs. ✔
• Forms: stylised and decorative, more angular. ✔
• Colour: flat, bold and exotic colours, with no tonal modelling of colour. ✔
• Strong emphasis on line – e.g. geometric fan motifs, sunbursts showing linear rays of the sun. ✔
• Texture: rich with great attention being paid to the play of a variety of surface textures – coarse textures contrasted with smooth and gleaming areas of metallic sheen. ✔
• Art Deco furniture is streamlined in design. It has a modern and sleek look, but was comfortable. ✔
• They used exotic woods e.g. Cuban mahogany, ebony and olive) and wood was often highly lacquered. ✔
• They used inlaid work in furniture. ✔
• Art Deco uses symmetrical balance in design. ✔
• It is an eclectic style borrowing from past styles. ✔ 
• Art Deco often combined circular and angular shapes in furniture. ✔
• Jewellery: a vast range of jewellery was produced using precious and semi precious stones. ✔
  Credit any other well-reasoned answer. (5) 

Designer and a work: (Allocate 1 mark) 

• Architecture: The Chrysler Building – designed by William van Alen ✔ 
• Poster: ‘Fast Forward’ by Cassandre ✔
• Poster: ‘Normandie’ by Cassandre ✔
• Furniture: Art Deco Club chair – by Donald Deskey ✔
• Textile: ‘Dalmations’ – by Violetta Janes ✔
• Teaset: ‘Morning Tea Set’ – by Clarice Cliff ✔
• Teaset: Art Deco silver tea set with ivory handles – designed by Edward Vines ✔ (1)
  Credit any other valid and supported facts (2 x 10)

(20)

4.2
4.2.1 (Allocate 2 marks) 

• FIGURE B represents De Stijl ✔
• FIGURE C represents Deconstructivism ✔ (2) 

4.2.2 (Allocate 8 marks) 

• Candidates must answer in paragraphs and not in table form.
• The marking guideline has only been written in bullet form to facilitate marking.
• Candidates must write a single essay, without the use of bullets, to show their ability to evaluate and compare through the application of factual information. 

BALANCE: 

• In FIGURE B only two of the primary colours, blue and yellow, are used to block in minimal areas of the black grid on the white ground, which is typical of De Stijl. ✔ The larger amount of white, visually lighter space balances out the smaller, visually heavier areas of black and the primary colours. De Stijl designers believed in balance, harmony, order, logic and purity. ✔ Spaces are arranged in geometric shapes which create balance and harmony. ✔ The De Stijl inspired dress does not show equal divisions of space which could result in a boring design, but rather the divisions of colour blocks are less equal resulting in a harmonious balance or relationship between sections. ✔ 
• In FIGURE C a visual tension is created between the fragmented and unbalanced shapes of the garment. ✔ The nature of deconstruction is not to ‘break down’ but rather to show the tension and relationship between opposing forces. ✔ We generally believe that garments should appear structured and secure on our bodies, not fragmented and unstable which creates a feeling of uncertainty, unease or anxiety. ✔ This Deconstruction garment typically shows a part of the garment left unfinished and the traditional structure and production method of a fashion item ignored. ✔ With regards to the garment under the jacket, which hangs below the model’s knee in length, there appears to be an imbalance as more of the model’s body is exposed than one would expect from a long garment. Therefore, this fragmented garment, aimed to create a visual style that represents the invisible relations between opposing elements, leads the viewer to experience a sense of spontaneity and surprise. ✔

PROPORTION/SCALE: 

• In FIGURE B proportional relationships can be seen in the distribution of colour where the larger white proportion of the garment is compared to the smaller areas of the black grid and primary colours. This is a characteristic of De Stijl where they use of pure geometric forms; ✔ designs are abstract and minimalist. ✔ The entire block-like pattern design of the garment is large and dominant in proportion to the short mini-dress, creating a dramatic, bold and striking appearance. ✔ The proportion of white lace fabric is larger compared to the smaller proportion of bold black and primary colours incorporated in the grid pattern. ✔
• In FIGURE C the proportion of the over-garment/jacket is seen to consist of more fabric and coverage than the under-garment/tunic which is fragmented and hangs loosely to a length below the model’s knee. ✔ The relationship between these two pieces of the outfit show a typical characteristic of Deconstructivism where often opposing ideas or relationships have an order/hierarchy. ✔ This Deconstructivism characteristic aims to create a visual style that represents the invisible relations between opposing elements. This provokes a feeling of uncertainty, unease, shock and disruption. ✔ 

MOVEMENT: 

• In FIGURE B the basic geometric shapes are combined in an abstract, simple, unified manner, typical of De Stijl, yet static movement is perceived where the viewer’s eye jumps from one block of colour to the next with the use of bold, contrasting colours. ✔ Creating visually powerful effect. ✔ 
• True to the nature of Deconstruction, the under-garment of FIGURE C shows displaced, distorted shapes which are repeated, thus creating implied movement. ✔ The theory of Deconstruction is characterised by ideas of fragmentation and generally has the appearance of ‘coming apart’. ✔ In Deconstruction, space seems to be ‘cut’ with a diagonal focus, creating a sense of movement and dynamism, and visual chaos. ✔ 

FOCUS/EMPHASIS/DOMINANCE: 

• In FIGURE B the focus/emphasis falls on the black grid of vertical and horizontal lines which are filled in with flat blue and yellow colours on the dress, these pure geometric shapes being the typical subject matter of De Stijl design. ✔ The colours are flat and strong in tonal value, contrasted against the soft white lace background, as De Stijl limited their colour palettes to pure primary colours plus black and white. ✔ This strong contrast of colour and texture creates an overall emphasis and focus on the grid pattern, although not having a central focus point, indicating severity through the simplification of design elements. ✔
• In FIGURE C the fragmented, opened-up section of the garment becomes the area of focus, emphasis and dominance as the viewer’s eye tends to be drawn to this area immediately with the contrast of the pale body of the model showing through the open sections of the black clothing. ✔ This leads to the element of surprise or shock as the ‘opened-up’ garment is emphasised and unexpected. ✔ 

Consider any other well-reasoned and supported facts. (8) [10] 

TOTAL SECTION B: 30

SECTION C: DESIGN IN A SOCIO-CULTURAL/ENVIRONMENTAL AND SUSTAINABLE CONTEXT 

• Critically reflect on how design shapes the physical and social environment. Choose THREE award-winning contemporary International designers whose work demonstrates environmental responsibility. 
• An understanding of the ways in which design can be used to reinforce or challenge social, cultural, environmental and ethical issues. Study THREE two-AND/OR three-dimensional South African and African craft designs, past and present whose work demonstrates social responsibility. 
• Demonstrate ways in which design can be used to benefit society.

QUESTION 5 (20 marks) 
Answer EITHER QUESTION 5.1 or QUESTION 5.2. 
5.1
5.1.1 (Allocate 2 marks) 

• Socially responsible design is design that is mindful of the designer’s role and responsibility in society; ✔ and the use of the design process to bring about social change. ✔
  Credit any other well-reasoned answer. (2) 

(Allocate 4 marks) 

• The Bamboo homes seen in FIGURE A are sustainable as they are built from bamboo which can be harvested without causing environmental degradation, which ultimately safeguards mankind. Bamboo naturally constantly regenerates itself with new shoots, even with regular harvesting of mature timber, therefore making the harvesting of bamboo sustainable for the earth and benefitting the people. ✔
• The bamboo is locally sourced and inexpensive to harvest therefore making it an affordable alternative building material for the majority of the poorer community in Southeast Asia. ✔ They can be easily assembled on site and are affordable. ✔ 
• Bamboo can be used for building purposes without the use of dangerous toxic chemicals which could harm nature and mankind. Bamboo comes from nature and is returned to nature in a natural cycle making it a safe dwelling. ✔ 
• Bamboo is a natural anti-bacterial therefore it can be used as a building material which ensures that it will not harbour sickness. ✔ 
• The homes seen in FIGURE A are designed to withstand the severe flooding which is prevalent in Southeast Asia. Bamboo is water resistant therefore a suitable material for the construction of these homes. ✔
• The strength, flexibility and light weight of bamboo also renders it a suitable material for the construction of the homes which need to withstand the severe flooding, with the rising and falling of incoming waters, as safety is of prime importance for the people in this severe flooding region. ✔
• The use of bamboo for the building of these homes and also the re use of oil drums makes this a design with a low carbon footprint. No major machinery is used for the construction of these homes resulting in relatively low energy consumption and low pollution. ✔ This construction also allows the homes to safely float during the flooding season. ✔
• The architects have considered the comfort factor of the residents. With the hot, humid climatic conditions of Southeast Asia the design of the roof has triangular cut-outs which open up in every direction, creating natural cross breezes and shade. ✔ When turbulent weather comes, the residents can be protected inside the homes when the roof pieces are closed up. ✔
• Residents are able to harvest their own crops on the vertical suspended bamboo planters which are alongside their outside walls. ✔ 
• Rainwater harvesting systems are in place which can be used for the suspended vertical garden. ✔
  Credit any other well-reasoned responses. (4) 

5.1.2 (Allocate a total of 14 marks for one essay on TWO designers.)

• Candidates to choose a South African designer/design group AND an International designer/design group. They must be concerned with helping to bring about change in ANY social issue. Examples are: poverty; capitalisation; gender issues; health issues; social injustices; racism and marginalisation.
  Note: A learner may use any example from an LTSM as prescribed in the LPG (i.e. the Woolworths Book ‘Living with Design Daily’ or ‘Craft Art in SA’ by E. Coetzee) 

EXAMPLE OF A LOCAL DESIGNER/DESIGN GROUP 
STREETWIRES (Design group) 
THEY AIM TO: 

• Tackle the problems of unemployment and poverty in South Africa. ✔
• To create meaningful long-term employment for as many South Africans as possible ✔
• Improve the quality of life of many previously destitute South Africans by providing a workplace, permanent employment, a sense of purpose and access to skills training and personal development. ✔ 

SOCIAL RESPONSIBILITY: 

•  The company believes that the major hurdle facing our country is unemployment:
  • It is the leading cause of numerous social ills such as poverty. ✔
  • It hampers community growth and development. ✔
  • and to improve the life of South Africans by providing a workplace, permanent employment, a sense of purpose and access to skills training and personal development. ✔
• Streetwires Training and Development’ is a non-profit company established by Streetwires that specifically aims at uplifting communities by providing skills training, development of individual artists and creating outreach initiatives in orphanages, schools and impoverished communities. ✔
• The business focuses on producing street wire art, a uniquely Southern African genre. ✔ The most likely origins of this art form are the rural areas of Maputuland and Zimbabwe where poor herd boys created their own toys out of discarded hanger wire, tin cans and whatever else they could find. ✔ New wire-art designs are being created by a design team and once designs have been approved, templates are made and passed on to the wire crafters who work as a team to manufacture the product. ✔ The Cape Town studio reveals a business based on quality control. To maintain a high standard, the team leader ensures that the template design is adhered to exactly and that the template design is passed through quality control before being released.
• Objects produced are both decorative and functional such as beaded promotional items and gifts (e.g. key rings, paperclips with logo top, business-card holders), working radios, various models of cars in wire or beaded wire, and animal, bird and human sculptures. ✔ The technique of wire art dominates, incorporating materials such as beads, cut-up tins and bottle caps. ✔ 

RANGES: 

• The shapes and forms of products are highly stylised and simplified, incorporating an element of whimsy and humour. ✔ Bright colours and simple, curvilinear outlines dominate. ✔ This can be seen in examples such as: the beaded wire bust of Madiba/Hoopoo bird/Stork bird/sheep/Nguni Cattle. ✔
• Streetwires produces five product ranges, namely:
  • ‘Streetwires Custom’: unique product ranges for events and corporate branding;
  • ‘Streetwires Generic’: retail range which secures the largest percentage of their income;
  • ‘Streetwires Collection’: targets the high-end design and decor market; 
  • ‘The Signature Range’: promotes the names of the company’s best artists (e.g. master wire artist Elias Kahari, and designer Michaela Howse) which is sold in up-market stores;
  • ‘The Fine Art Collection’: solo exhibitions where collections are showcased under their own names. ✔ 

SHAPING/IMPACT ON SOCIETY: 

• The ranges above all contribute to the economy of South Africa in their own unique way in that they target various markets. It creates dynamic ways in which the country is promoted to the overseas markets, thus promoting the crafts and skills of this country, ultimately providing more jobs for the local community. ✔

EXAMPLE OF A WORK: ‘PROUDLY SOUTH AFRICAN LOGO’ TROPHY ✔ 

• The Proudly South African campaign is a South African 'buy local’ marketing campaign and logo. ✔
• In this Streetwires trophy creation it is displayed as a cupped hand, which stands on a small plinth, holding the ‘Proudly South African logo’. ✔
• The tick in the logo is the universal symbol of endorsement, signifying quality and approval. The tick in the logo is the universal symbol of endorsement, signifying quality and approval. ✔
• The colours display the colours seen in the South African flag. The tick in the logo is the universal symbol of endorsement, signifying quality and approval. ✔
• The organic shape of the hand contrasts with the geometric shapes of the logo. ✔ 

EXAMPLE OF AN INTERNATIONAL DESIGNER 
BJ KRIVANEK (Designer) 
HE AIMS TO: 

• Add public and poetic dimensions to the flood of commercial messages in the modern urban landscape. ✔
• Krivanek integrates the written word into built environments. ✔ 

SOCIAL RESPONSIBILITY: 

• Designs monuments that celebrate groups who are ignored, shunned or marginalised by society. ✔
• He gives a voice to ‘embattled and stigmatised urban/city communities’ as a way of reaching out to them and give them dignity. ✔ 

INFLUENCES ON HIS WORK: 

• He draws the content of his project from the history of a site and also through outreach to community members. ✔
• He revives the tradition of architectural inscription used on classical public buildings that for centuries featured texts to commemorate and instruct. The generously spaced classical inscriptions were usually in capital letters and written by people in power or dominant social groups. ✔ 

METHODS: 

• He combines sculpture, architecture and design to make environmental installations that commemorate the invisible outsider rather than known people. ✔
• Krivanek uses phenomena such as light, reflection, shadows and projections in works. ✔ 
• Materials such as glass, aluminium, stainless steel and concrete are incorporated. ✔
• Krivanek’s text is generously spaced and carefully arranged in lines to maintain the real value of the message. ✔
• Font styles are in keeping with the surrounding architectural structures to reflect the history and character of the site and to give that area a voice. ✔
• His themes do not instruct; instead they reflect contemporary social issues and his messages go against the official viewpoint of the day. ✔ 
• He works with a team of collaborators. ✔ 

SHAPING/IMPACT ON SOCIETY: 

• He enriches people’s experiences of the place they live in. ✔
• He increases people’s knowledge of the history of a place and the events that have occurred in that place through single words. ✔
• He gets people to think critically about themselves and situations in a positive way. ✔
• The architectural works always seem to have a deep emotional and sensitive connection to the physical human being. ✔
• The works often encourage inward reflection from the viewer. ✔
• His environmental installations blend sculpture, architecture and design to commemorate the invisible outsider rather than prominent figures. ✔ 

EXAMPLE OF A WORK: ‘THE 9/11 MEMORIAL, LAX AIRPORT’ ✔ 
AIM: 

• To commemorate the tragedy of the terrorist attacks on the United States as three of the four hijacked airplanes were headed to LAX. ✔
• To reflect the community’s collective loss and the hope that has sprung from the nation’s national identity. ✔ 

METHOD: 

•  Visitors to the memorial enter across a relational threshold inscribed: ‘Daughter, Neighbour, Citizen’, et al. to approach the entombed, fortified fountain. ✔
• At its edge, visitors can move the floating, reflective dish, to activate the interplay of national perceptions – inscribed: United We Stand, ‘Sea to Shining Sea, Home of the Brave’, et al. Versus core American rights and ideals – inscribed: ‘Privacy, Habeas Corpus, Assembly’, et al. suggesting the national dialogue triggered by the attacks. ✔
• Inscribed on the floating mirrored dish, reflected upward at night, are the personal traits of the victims – inscribed: ‘Beloved, Equal, Strong, Honest’, et al. – evidence of the diverse American citizenry and the characteristics that form their national identity. ✔ As projections at night, this constellation symbolises the residual afterlife of the victims. ✔ On the plates in various languages are common American phrases such as ‘American Dream’ that are known worldwide. ✔The segmented plates also cause the division of these phrases representing the shattering of American ideology caused by the event. ✔
• The memorial was built on top of an existing fountain – the plates are continuously moving due to the movement of the water on which the plates float. ✔ 

Credit any other relevant examples and information. (14) [20] 

OR 
5.2
5.2.1 (Allocate 2 marks) 

• FIGURE B is considered design.
  In design, the designer strives to improve something or come up with  something new that would improve the quality of our lives. A designer  looks towards new methods or reinventing old methods to come up with  something new and innovative. ✔
  Craft can be defined as the making of individual items; the making of a  series of useful AND/OR decorative objects created mainly by hand,  using specific materials and developed skills. ✔
  The design The Crochet Lamp in FIGURE B is crafted from the age-old skill/craft of crochet. However more than one of these lamps have more  than likely been made/manufactured and the crochet technique has  been utilised in a contemporary way therefore categorizing this product  as design. ✔
  Credit any other well-reasoned response. (2) 

5.2.2 (Allocate 8 marks) 

• Candidates to choose to discuss either ONE of these traditional  crafts: isiZulu basketry, isiZulu pottery, isiZulu beadwork, or isiXhosa  beadwork. 

EXAMPLE: isiZULU BEADWORK 
ORIGINS AND TRADITIONAL HISTORY: 

• Port Natal (now Durban) was one of the first areas where trading  between the North AbaNguni (amaZulu) and the British took place  around 1824. ✔
• Most of the trading was done with amaZulus living outside the  kingdom of the amaZulu. Both Chaka and Dingaan controlled and  determined the trade of beads inside the kingdom. ✔ Dingaan had a  particular liking for red beads or otherwise white and dark blue. ✔
• IsiZulu beadwork is closely integrated with their social organisation,  the technology of specialised craftsmanship, religious belief,  educational objectives and communication. ✔
• The craft itself forms an intricate communication system devoted  entirely to the expression of ideas, feelings and facts related to  behaviour and relations between the sexes. ✔ 

FUNCTIONS AND SOCIAL ROLE: 

• Beaded objects form an important part of traditional African dress. ✔ It is worn for special occasions, such as weddings and festivals and  to tell others something of the spiritual power, status or stage of life  of the person wearing it. ✔ 

MATERIALS AND METHODS: 

• In Africa seeds, nuts, shells, bones, claws, tusks, teeth, wood,  metal, stone and gold have been used to make beads. ✔
• Then glass beads from the East, brought to Southern Africa by  Indian and Arab traders in about the 2nd century AD, were used.
• Beading is also recreational and usually done in groups as a social  activity.
• Beadwork is made by women for themselves and their families. ✔
• Beadwork is a way of communicating without words. ✔ This is done  through patterns, styles and colours. ✔
• Messages are woven into decorative geometric designs, which have  particular significance. ✔
• This can be seen by the colour symbols and patterns. The meaning  is affected by the combination or arrangement of certain colours. ✔ 

DESCRIPTION OF ONE EXAMPLE: isiZulu love letter 

• It consists of a narrow beaded band with a flap worn around the  neck. ✔ The flap contains a geometric design composed of triangles  in various combinations which relates to male/female  relationships. ✔
• The beaded love letter was used by women to communicate with  their men. Interpreting it is almost like understanding the Zulu  language. ✔ The code is however deceptively simple. It uses the  basic geometric figure of the Triangle and usually a maximum of  seven colours. ✔ The three corners represent father, mother and  child. ✔ Social conventions often influence the combinations or  arrangements, which determine the meaning of colours and the  geometric figures. ✔ White usually represents spiritual love, purity  and virginity. ✔ Red is especially an important colour and Zulu girls  include this in the beaded love letters they send to their  boyfriends. ✔
  Credit any other well-reasoned response. (8)

5.2.3 (Allocate 10 marks) 
LADUMA NGXOKOLO – Knitwear designer, Port Elisabeth 

• Laduma Ngxokolo is an award winning knitwear designer who is  influenced by traditional isiXhosa beadwork. ✔
• Ngxokolo aimed to develop knitwear that reflects identity for  amaXhosa ‘amakrwalas’ after they have attended circumcision  schools where they are initiated into manhood. ✔
• He aims to support small black community farmers by using locally  sourced merino wool and mohair. ✔
• By utilising local mohair in his products, he aims to indirectly contribute to the market share of locals. ✔
• He aims to produce knitwear, which is trendy and appealing to the  amakrwala, but can still be identified as part of the isiXhosa culture. ✔
• He aims to create opportunities for employment and business  ventures in the mohair, wool industry and knitting mills. ✔
• To export his ranges to other countries. ✔
• Through his careful attention to pattern and colour he aims to create  good quality, authentic South African designs. ✔ 

INFLUENCES: 

• Ngxokolo was influenced greatly by his mother as he grew up doing  craftwork and beadwork with her. ✔
• Each year, hundreds of amaXhosa boys aged eighteen to twenty three attend the circumcision schools for their manhood initiation  ritual. The old clothes of the initiates, known as amakrwalas, are given  away as a sign of the end of their boyhood. At this time, their parents  are obliged to adhere to the custom and buy them the high-quality  geometric knitwear imported from the West. Having experienced the  isiXhosa initiation ritual himself, Ngxokolo felt that there were no  knitwear brands that bore any aesthetic resemblance to isiXhosa  traditions, and so he decided to develop a range of knitwear garments  specifically for amakrwala. ✔
• As beadwork forms such an important part of isiXhosa culture and of  his culture as a young umXhosa man, Ngxokolo explored isiXhosa  beadwork as a source of inspiration, which translates easily into  patterns for his unique knitwear. ✔
• Colour also plays an important role in the isiXhosa culture so  Ngxokolo considered the colours carefully in order that his knitwear  represent the isiXhosa culture. ✔ 

CHARACTERISTICS: 

• He uses locally sourced merino wool and mohair for the knitwear. ✔ ∙ isiXhosa beadwork is one of the most important practices of the  isiXhosa culture and essentially consists of geometric motifs such as  the arrow, axe, diamond and zigzag, which are all easily translated  into knitwear patterns. ✔
• The knitwear, with the geometric patterns, reflect the amaXhosa  traditional identity. ✔
• Ngxokolo creates colour samples so that the wool and mohair could  be dyed to the correct colour specifications. ✔
• Ngxokolo named his brand ‘MaXhosa by Laduma’ because he  wanted to showcase the astonishing beauty of the Xhosa people &  translate it in a modern way that actually appeals to the current youth  that is influenced by international trends. ✔
• From all the brilliant designers in South Africa, Ngxokolo’s work was  selected as part of the collection of top South African designs to  represent South Africa at the showcase in Helsinki during the World  Design Capital celebrations in 2012. ✔
• Knitwear styles of cardigans, waterfall cardigans, v-necks, shawl  collar necks, pull-over’s & crew-neck jerseys are produced. ✔
• Inspired by his late mother, who was a great patriot of the Xhosa  heritage, he named his collection of 2013 'My Heritage My  Inheritance'. The garments are made using traditional materials &  with modern machinery in a factory in Cape Town. ✔
• In contemporary décor, Ngxokolo also collaborates with Interior  Decorators, e.g. with his knitted fabric on a stool which resembles an  African pot. ✔
• Recently Ngxokolo has branched out to include patterned rugs,  cushions and blankets. ✔
• He has now also expanded his brand even more by starting a  women’s line called ‘Buyele’mbo‘. ✔ 

Credit any other factual and well-reasoned response. (10) [20]

QUESTION 6 (Allocate 20 marks in total) 
6.1 (Allocate 6 marks) 
The design in FIGURE A can be said to be a good example of social and also sustainable environmental design for the following reasons: 

• It is made from 100% recycled plastic shopping bags. Our dumpsites are overflowing with non-biodegradable waste so these eco-friendly schoolbags, which are made from plastic that has been previously used, provides a unique solution in combating environmental problems. ✔
• The Rekatha Repurpose Schoolbags company, which currently employs 20 people, intends expanding production. In this manner employment opportunities are available for the local community, thus addressing social problems. ✔
• The schoolbags are made with a built-in solar panel on the outside flap of the bag. The solar panel charges up during the day so that it can be attached to a solar-jar lamp at night. In this way, the school pupils are able to do homework at night, which assists their educational needs for extended study time. ✔
• This solar-jar lamp may also be utilised by members of the family as electricity may not be available in their homes, or the cost of electricity too high for them to afford. This therefore assists children from low-income families. ✔ 
• The schoolbags are created with added retro-reflective material to increase visibility of the children walking to and from school to motorists. This is very important in a country where so many children, as pedestrians, are killed on the roads. ✔ 
• The schoolbags should benefit the school children for a long period of time as they are strong and durable. ✔
• Being made from 100% plastic, they are waterproof and the contents will not get damaged. This is an advantage as many children have to walk to school in wet weather. ✔
• The bags are trendy which offers dignity to the children as they are able to feel worthy of possessing a good design product. ✔
• Low-income, disadvantaged schools in South Africa, where children lack basic school supplies and walk long distances to school, are able to benefit from these Rethaka Repurpose Schoolbags. ✔ 
• The community involvement in a project such as this creates Ubuntu, which brings about positive change for people within low-income communities. ✔
  Credit any other well-reasoned answer. (6) 

6.2 (Allocate a total of 14 marks for one essay on TWO designers) 

• Candidates to choose a South African designer/design agency AND an International designer/design agency.
• Their work must address environmental AND/OR sustainable issues.

EXAMPLE OF A LOCAL DESIGNER/DESIGN AGENCY: 
HEATH NASH ✔ 
HOW THE DESIGNER/DESIGN AGENCY ADDRESSES ENVIRONMENTAL AND/OR SUSTAINABLE CONCERNS: 

• Nash uses wire frames and old plastic bottles ✔ he found the notion of re-use ✔ very exciting. Using the skills of a wire artist he created a range of re-purposed post-consumer plastic, waste products. ✔ Heath allied himself with local environmental organisations – footprints. The workers in this group were trained to collect and wash the bottles thus cleaning up the environment. ✔ Nash also formed a new company named Poise that collects washes, cuts and creases the plastic flowers. ✔ Poise collects from sorting areas and Nash now has a steady flow sustainable source of most colours. ✔ He also provides employment for underprivileged people who collect plastic from dumps. ✔ The plastic is die cut therefore no energy is used and no pollution results from the process. ✔ The off cuts are then returned to recyclers for recycling. ✔ 

THE TITLE AND A BRIEF DESCRIPTION OF ONE DESIGN WITH PARTICULAR REFERENCE TO THE WAY IT ADDRESSES ENVIRONMENTAL ISSUES: 
‘FLOWERBALL’ LAMPSHADE: ✔ 

• The lampshade is functional, in that it houses a globe to light up a room. ✔ It also has aesthetic value as it offers a pleasing visual experience and it beautifies the interior in which it is hung. ✔
• It addresses the current environmental concerns in that it allows for the recycling of scrap plastic for its production. ✔
• The lampshade is dominantly white giving a quiet, pure surreal quality to the work. ✔ The shade is made of similar leaf and biomorphic petal shapes cut from plastic that are creased to look like flowers. ✔ Some flowers have rounded triangular petals which contrast with the elongated petal shapes. This creates variety and interest in the surface pattern. ✔ The quietness brought about by the simple spherical shape and the uninterrupted white colour is brought to life by the movement created by the sharp points and different angles of the petal shapes. ✔

EXAMPLE OF AN INTERNATIONAL DESIGNER/DESIGN AGENCY
JULIE BARGMANN ✔ 
HOW THE DESIGNER/DESIGN AGENCY ADDRESSES ENVIRONMENTAL AND/OR SUSTAINABLE CONCERNS: 
Julie Bargmann is internationally recognised as an innovative designer who reclaims polluted industrial sites in the USA that have been severely polluted by mining or the dumping of rubbish. ✔ A major focus is the treatment of AMD (acid mine drainage) ✔ which spills into streams and rivers, thereby raising acidity levels and suffocating life forms. ✔ She explores the creative potential of these degraded landscapes and alters them into regenerative landscapes. ✔ 
Bargmann applies her research from her small design practice, called D.I.R.T. (Design Investigations Reclaiming Terrain/Dump It Right There). ✔ She researches the effect of past and present industrial operations and urban processes on ecological systems and communities and the relationship of these to emerging technologies. ✔ Bargmann employs teams of architects, artists, engineers, historians and scientists, to help her imagine the next ‘life’ of landscapes such as closed quarries and abandoned coal mines. ✔ Bargmann teaches ‘critical site-seeing’ ✔ which aims to explore the multiple histories of a site in order to understand all the processes that led to its degradation ✔ and to come up with a plan for its regeneration and to renew its relationship with the community and the economy. ✔ She aims, ‘not only to revive the landscape but also not to forget’, in other words, to leave a reminder of what has happened at these sites. ✔ She wants to move away from the common practice of completely disguising past elements of the site, under green hills or recreation fields such as golf courses. In her words, this is like ‘putting lipstick on a pig’. ✔ 

THE TITLE AND A BRIEF DESCRIPTION OF ONE DESIGN WITH PARTICULAR REFERENCE TO THE WAY IT ADDRESSES ENVIRONMENTAL ISSUES: 
‘TESTING THE WATERS’: ✔ 
Bargmann has transformed the site of a former coal mine in Vintondale, Pennsylvania into a 45 acre park for acid mine drainage and community recreation. ✔ Bargmann then designed the layout of the park by making the existing shape of the landmass into the form of a passive AMD treatment system. ✔ This is like a giant ecological washing machine. She invited the public to come and witness the cleansing process physically as well as symbolically. ✔
First, the AMD goes through a series of retention basins ✔ and, as polluted water passes over this ‘Treatment Garden’, its colour changes from acidic orange to pea green and then finally to alkaline blue-green. ✔ Each of these colour changes are symbolic, and a physical change. ✔ The cleansing process is symbolically shown in the ‘Litmus Garden’. ✔ The seasonal colours of the bark, foliage and fruit of the alternating rows of indigenous trees and shrubs, visually represent the treatment sequences, progressing from deep reds and oranges to cooler hues of green and blue. ✔ The flood plain of the site’s creek is reconstructed into a new marsh and additional wetlands for the final ‘rinse’. ✔ After flowing through these wetlands areas, water returns to the local creek in a purified state. ✔ 

Consider any other factual and well-reasoned answer. (14) [20] 

TOTAL SECTION C: 40 
GRAND TOTAL: 100

INFORMATION TECHNOLOGY
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

MEMORANDUM 

SECTION A: SHORT QUESTIONS 
QUESTION 1 
1.1
1.1.1 HTTP ✔ (1)
1.1.2 Byte ✔ (1)
1.1.3 Rootkit ✔ (1)
1.1.4 Patch ✔ (1)
1.1.5 SPAM ✔ (1)
1.1.6 Thread ✔ (Accept multithreading) (1)
1.1.7 Topology ✔ (1)
1.1.8 Microblogging ✔ (Accept tweeting) (1)
1.1.9 4G/LTE ✔ (1)
1.1.10 Bandwidth ✔ (1) 

1.2
1.2.1 D ✔ copy your own CD to play on your mp3 player. (1)
1.2.2 B ✔ a sequence of logical steps that will solve a problem. (1)
1.2.3 C ✔ text file that stores information relating to websites. (1)
1.2.4 D ✔ Digital signature (1) 
1.2.5 B ✔ Wireless communication between PCs in a different  rooms. (1) 

TOTAL SECTION A: 15

SECTION B: SYSTEMS TECHNOLOGIES 
QUESTION 2 
2.1
2.1.1 Any ONE fact ✔ 

• It must be of the same size (number of pins)/Must fit into the  slots on the motherboard.
• The speed of the RAM must be compatible with the  motherboard/FSB/System bus.
  NOTE:
  Also accept any mention of motherboard compatibility/checking/ comparing the specifications of the RAM. (1) 

2.1.2

1. The operating system’s use of secondary storage ✔ (hard drive)  space as memory ✔ (temporary or simulated or additional RAM). (2) 
2. Any ONE fact why virtual memory is not the solution. ✔
   • Virtual memory is slow/using hard disk space as memory  slows down the performance
   • Thrashing may occur 
   • To be effective the need for a large amount of secondary  storage (hard disk space) arises (1) 

2.1.3

1. Any TWO correct facts about cache ✔✔
   TWO MARKS FOR:
   • Instructions/data probably needed next by the CPU are  placed in the cache memory which reduced time lost while  waiting for instructions/data from the RAM and as a result it  improves the performance of the CPU.
     ONE MARK EACH FOR:
     • Cache memory is situated inside the CPU or close by.
     • Cache faster type of memory – can feed the CPU with  instructions at a faster rate. 
     • Instructions/data probably needed next by the CPU are  placed in the cache memory. (2) 
2.                      
   • RAM and cache are different ✔ types of memory (DRAM and  SRAM).
   • Cache memory is found in the CPU; RAM on the  motherboard. ✔
   • Upgrading RAM means replacing DIMMs while upgrading  cache means replacing the CPU. ✔ (3)

2.2
2.2.1 Universal Serial Bus ✔ (1) 
2.2.2 Accept any ONE of the following: ✔ 

• Firewire (Windows) 
• Thunderbolt (Mac) 
• HDMI (1) 

2.2.3

• Program ✔ that tells an operating system how to communicate  with a specific device. ✔ 
  ALSO ACCEPT: 
• Software designed to control a piece of hardware. (2) 

2.2.4 Standard driver: Any ONE correct fact ✔ 

• Is already part of the operating system
• No need to load extra drivers (1) 

2.2.5 Any ONE device that connects to USB port that can make use of  standard/generic driver. ✔ 
Examples of devices: 

• Mouse.
• Keyboard.
• External storage device (e.g. hard drive/flashdisk).
• Printer / scanner / camera (1)

2.3
2.3.1 Yes / No and a valid reason to justify their answer. ✔ (1) 
2.3.2 Any TWO advantages: 

• Powerful CPU ✔
• Full scale operating system ✔
• Expandable 
  DO NOT ACCEPT MOBILITY 

Any TWO disadvantages: 

•  Size ✔
• Battery life ✔
• Not always on
• No built in cellular data (2 + 2) (4)

2.4
2.4.1 Speed (GHz) ✔ and Cores ✔ (2) 
2.4.2 Any TWO correct facts about preventing overheating ✔✔ 

• Large heat sink on the CPU/North Bridge chipset.
• Using thermal paste
• Heat conductive plate over system bus.
• Additional cooling fans in case.
• Alternative cooling systems – any sensible example. (2)

[24]

QUESTION 3 
3.1
3.1.1 Accept any ONE: ✔ 

• 3G/LTE
• ADSL
• WiMAX (1) 

3.1.2 Accept any TWO advantages of the connection mentioned in  QUESTION 3.1.1 ✔✔ 
3G/LTE 

• Widely available in South African cities 
• Allows mobile devices an Internet connection
• Fast data transfer rate
• Only pay for data being downloaded/uploaded 

ADSL 

• Stable
• Fast data transfer rate
• High bandwidth available/capped bandwidth
• Simultaneous voice and data 
• Low latency 

WiMAX 

• Fast data transfer rate
• Can provide broadband wireless access for up to 50 km  for fixed stations and 15 km for mobile stations (2) 

3.2
3.2.1 A router manages the bandwidth because it is able to inspect  the data packets as they arrive and determine the correct  destination ✔ of the data and forward it accordingly. ✔ (2) 
3.2.2 Accept any TWO other capabilities of a router: ✔✔ 

• Connect different network types together
• Ensures the safe transfer of data between networks
• Mainly used to connect LAN’s into a WAN / Used to  connect networks to the Internet
• Routers can also be used for port-forwarding (2) 

3.3
3.3.1 Any ONE of the following: ✔ 

•  No wires
• Mobility
• Easy to setup (1) 

3.3.2 Any TWO of the following: ✔✔ 

• Limited range
• Can be hacked easily
• Interference
• Slower than wired network (2)

3.4
3.4.1 A search engine works as an information locator. ✔ It uses  keywords or phrases entered by the user when looking for  information. (1) 
3.4.2 It is a technology/strategy ✔ used to obtain a high ranking  placement in the search results page of a search engine. ✔ (2) 
3.4.3 Any THREE of: ✔✔✔ 

• Profiled or customised searches
• Context-aware searches
• Mediated searches
• Semantic searches (3)

3.4.4 Any ONE explanation: ✔✔ 

• Profiled or customised searches – a technique used to  customise your search results, matching them to  advertisements that you are most likely to respond to.
• Context-aware searches – here the context or your current  interests taken from your web surfing history is used in  making search results relevant.
• Mediated searches – here third party software/humans  assist in the process of organising the content.
• Semantic searched – for the future, it will allow searches to  happen automatically, using metadata, contextual  information to come up with results. (2) 

3.5
3.5.1

• HTML – website document formatting language designed for  browser ✔
• JavaScript – a scripting language designed to run in a web  browser. ✔ (2) 

3.5.2 Any TWO of: ✔✔ 

• Perl
• Ruby
• ASP.NET 
• Python
• PHP (2) 

3.5.3 Server side scripting makes dynamic creation of webpages  possible, ✔ whilst connecting easily to a database. ✔ (2) 
3.5.4 Any ONE of: ✔ 

• Easy formatting of text
• Consistent formatting of text (1)

[25]

QUESTION 4 
4.1
4.1.1 Any THREE of: ✔✔✔ 

• Management
• Maintenance
• Security access rights
• Backup
• Installing software
• Configuring software (3) 

4.1.2 A relational database that contains many tables linked together  by relations. ✔ (1) 
4.2
4.2.1 Any TWO of: ✔✔ 

• Existing documents
• Existing workflows
• Business plan (2)

4.2.2 Data maintenance involves keeping information up to date. ✔ (1) 
4.3
4.3.1 Normalisation refers to the process of organising a database  into separate tables in such a way as to avoid the duplication  of data and also update/deletion anomalies. ✔ (1) 
4.3.2 Markup or the Total Value fields ✔ as they can automatically  be calculated when needed using a calculated field. ✔ (2) 
4.3.3 

Table Names ✔✔
Primary Keys ✔✔
Foreign Key ✔ 
Relationship ✔ (6)

4.4
4.4.1 SELECT * FROM Stock_DetailsTB ✔Order BY TotalValue ✔ (2)
4.4.2 DELETE ✔ From Stock_DetailsTB✔ WHERE Item=’Dress’ ✔ (3) 
4.4.3 UPDATE Stock_DetailsTB ✔ SET Contact = '0715624117' ✔ WHERE Owner's Name = 'Malcolm Peter'✔ (3)

[24] 

QUESTION 5 
5.1

Get the name and surname ✔ 
Initialise a blank string ✔ 
Get the length of name and surname ✔ 
Loop through the entire string ✔ 
If the character is not a vowel or a space then add to the blank string ✔
Change the first and last character to a capital letter ✔ 
Add a # to the end ✔ (7)

5.2
5.2.1 Indicates that the attributes are private fields ✔ (1) 
5.2.2 Accessor methods are used to return the contents of an object's  fields ✔ e.g. GetTeamName, ✔GetGender, GetDOB,  
Mutator methods are used to change the contents of an object's  fields ✔ e.g. CalculateCost ✔ (4) 
5.2.3 A constructor instantiates the object ✔and initialises the fields of  the object. ✔ (2) 
5.2.4 Compiles the objects attributes into a single string variable ✔ (1)
5.3

One mark per correct column. (6)

[21]

SECTION F: INTEGRATED SCENARIO 
QUESTION 6 
6.1
6.1.1 RFID tag ✔   

• Contains the antenna, the circuit and microchip. ✔ 

RFID reader ✔ 

•  The reader reads the radio signal sent by the tags. ✔ (4) 

6.1.2

• Passive RFID tags, receive all their power from the reader. ✔ These tags do nothing until they enter into the magnetic field of  the reader. ✔
• Active RFID tags, receive power from on-board batteries ✔ which allows them to communicate over long distances. ✔ (4) 

6.1.3 RFID tags would not be advisable ✔ since it is a stall and  people do not have a designated entry or exit point to check for  the tags. ✔ (2) 
6.2
6.2.1 Any TWO of: ✔✔ 

• Facebook
• Twitter
• Wechat 
• Myspace 
• Any other relevant answer. (2) 

6.2.2

• Constant interruptions prevent you from focusing your  attention on whatever task you are supposed to be  doing. ✔ 
• Social networking can consume several hours of your time  each day. ✔ (2) 

6.2.3 Social engineering refers to ‘conning’ or tricking a person into  giving out information willingly. ✔ This often includes sensitive  information such as passwords or other information that can be  used to commit identity theft. ✔ (2) 
6.2.4 Whatever you publish is immediately public and ‘vulnerable’ in  terms of being shared. ✔ 
ACCEPT ALSO: 
Multiple people have access to that information – especially if  the group does not have a controlled or limited membership. (1)
6.3
6.3.1 Distributed Denial of Service in an attack that make a website  unavailable ✔ by the use of thousands or millions of computers  to request data from the site at the same time. The servers  become overloaded, unresponsive and effectively unavailable to  everyone. ✔ (2) 
6.3.2 A botnet is a remotely controlled zombie PC infected with  malware ✔ that enables criminals to use it for launching DOS  attacks, or sending spam. ✔ (2) 
6.3.3 Trolling is sowing discord on the Internet by starting arguments  or upsetting people, by posting inflammatory, extraneous, or off topic messages in an online community (such as a newsgroup,  forum, chat room, or blog) with the deliberate intent of provoking  the readers. ✔ 
Therefore, one cannot cause a DOS by doing this. ✔ (2) 
6.3.4 ONE of: ✔ 

• Hacker
• Scriptkiddie
• Cyber-criminal
• Spammer etc. (1)

6.4
6.4.1 Secure Socket Layer ✔ (1) 
6.4.2 Encryption is when clear and easy to read data is scrambled to  protect it and make it unreadable. ✔ (1) 
6.4.3

• The browser connects to the server using https and requests a secure connection✔ The server sends the browser its public key and its certificate to  prove who it is. ✔
• The browser generates the secret key that will only last for the  duration of the communication session, encrypts the key using  the server’s public key and sends it to the server. ✔
• The server decrypts the secret key and now both has the secret  key that they will use temporarily for the duration of this  communication session. ✔ (4) 

6.5
6.5.1 The use of resources offered as services over the Internet ✔ and  shared between many users, including online file storage  services and the running of programs. ✔ (2)
6.5.2 Online file Storage – Storing files on the internet, which can be  accessed from multiple devices and shared with others ✔ 
Examples: Any ONE ✔ 

• OneDrive
• Dropbox
• iCloud 

Online Backup – Used to backup data that you only access  when disaster strikes, which may include your system  settings. ✔ 
Examples: Any ONE✔ 

• Carbonite
• Acronis
• Crashplan (4) 

6.5.3 DISAGREE ✔ 

• Syncing services do not offer an incremental structure ✔ and  the security of a proper online backup service. ✔
  OR
• Backup services make a copy of the files. ✔
  Syncing services automatically updates and make changes to  the cloud storage so that it mirrors the hard drive. ✔ (3) 

6.5.4 There is an application installed on the device ✔that runs to  create the user interface and so reduce the amount of data that  needs to be transferred. ✔ (2)

[41] 
TOTAL SECTION F: 41 
GRAND TOTAL: 150

INFORMATION TECHNOLOGY
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

MEMORANDUM 

SAMPLE SOLUTIONS 

INFORMATION TECHNOLOGY
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of THREE questions. Candidates must answer ALL three  questions.
2. The duration of this examination is three hours. Because of the nature of this  examination it is important to note that you will not be permitted to leave the  examination room before the end of the examination session.
3. Answer only what is asked in each question. For example, if the question does not  ask for data validation, then no marks will be awarded for data validation. 
4. Your programs must be coded in such a way that they will work with any data and not  just the sample data supplied or any data extracts that appear in the question paper.
5. Routines such as search, sort and selection must be developed from first principles.  You may NOT use the built-in features of a programming language for any of these  routines.
6. Save your work regularly.
7. The files that you need to complete this question paper have been given to you. The  files are provided in the form of password-protected executable files.
   Do the following:
   • Double click on the password-protected executable file.
   • Click on the extract button.
   • Enter the following password: Med2017#
     Once extracted, the following list of files will be available in the folder DataTrial2017: Question 1: 

Question1P.dpr 
Question1P.res 
Question1U.dfm 
Question1U.pas 
Medical.jpg 

Question 2: 
clsRecords.pas 
Question2P.dpr 
Question2P.res 
Question2U.dfm 
Question2U.pas 

Question 3: 
Question3P.dpr 
Question3P.res 
Question3U.dfm 
Question3U.pas 
Patients.txt

QUESTIONS 

QUESTION 1: GENERAL PROGRAMMING SKILLS 
An example of the GUI is given below: 

Complete the code for each section of QUESTION 1 as described in QUESTION 1.1  to QUESTION 1.4. 
1.1 Add the picture, Medical.jpg, as a dynamic component when the program is  executed. 

Properties: 
Left = 500 
Top = 15 
Height = 90 
Width = 120 
Stretch = True (7)

1.2 General Info Button: 
The patient must enter their title, name and surname, as well as their ID  number. The ID number must be checked to ensure it is the correct length (13  characters) and that it consists only of numbers. If the ID number is not correct,  display a suitable message. 
If the ID number is correct, a file name will be created for the patient. The file  name consists of the first three characters of the surname and a randomised  number between 100 and 999 (both included).
Display a welcome message which will include the title, initial, surname and  file name of the patient. 
Example of input: 

Example of output: 
(14)

1.3 Medical Aid Info Button 
The patient must enter their medical aid info: 

• If the patient is the main member, (Main Member) must be displayed  next to the file name
• If the patient has a subsidy then ‘Yes’ must be stored, else ‘No’
• Number of dependents
• Medical aid name 

This information must be written to text file. The text file’s name must be the  file name created in Question 1.2. 
The information must be written to the text file as follows: 

<file name>: (Main Member) 
<number of dependents> 
<medical aid name> 
<subsidy> 

Display a message once the file has been written. (13)

1.4 Update Info Button 
The information must be updated annually. Display a message which will tell  the patient when the information must be updated again. Make use of the  system date. 
Example of output: 
(5) 

TOTAL QUESTION 1: [39]

QUESTION 2: OBJECT-ORIENTED PROGRAMMING 

Open the incomplete program in the Question 2 folder. Currently the program has no  functionality. 

Complete the code for his program as specified in QUESTION 2.1 and QUESTION 2.2. 
2.1 The given incomplete object class contains the declaration of six attributes which  describe the objRecords object. 

2.1.1 Write a constructor called Create which will assign values to the fdoctor,  fdate, fmedaid, ffollowup attributes. Fpayment and fmed must be  initialised to zero. (4) 
2.1.2 Write a method called FollowUpDate which will return the date the  patient has to see the doctor again. The follow-up appointment has to be  seven days after the first appointment. If no follow-up appointment is  required then a string message must be returned indicating that no  appointment is needed. 
(Assume that the month has 30 days.) (9)
2.1.3 Write a mutator method called SetPayment which will receive the  payment that was made and update the existing payment amount. (2) 
2.1.4 Write a mutator method called SetMed which will receive the amount that  was submitted to the medical aid and update the existing medical aid  amount. (2) 
2.1.5 Write a method called CompileString which will return information about  the follow-up appointment. 
If a follow-up appointment is needed, the message should be the  following: 

Patient must please see <Doctor> on <follow-up date> 

If no follow-up appointment is needed, then the following message should  be displayed: 

No Follow-Up Appointment Needed (5) 

2.2 An incomplete class Question2U is provided.  
2.2.1 Capture Info Button 
Write code to capture all the information and use it to instantiate the  objRecords object. Call the CompileString method and display the  contents using a message box. 
The amount requested to be paid will be randomised and must be  between 300 and 400 (both amounts included). 
If the patient has a medical aid, then the amounts will be sent to the  medical aid on behalf of the patient. If the patient has no medical aid, then  the amount must be paid by the patient. 
Example of output: 
Patient has medical aid: 

Patient does not have medical aid (take note that amounts will be different  due to the amounts being randomised): 

(20)

2.2.2 Stats for the Day Button 
Write code to display the total amount of cash that was paid for the day  as well as the total amount that was charged to medical aid. All monetary  values must be formatted to two decimal places. 
Display how many patients each doctor had on that particular day. 
Example of output (output will be different as it depends how many times  the Capture Info was selected; as well as randomising of numbers): 
(5) 

• Enter your name and surname as a comment in the first line of the program file.
• Save your program.
• A printout of the code may be required. 

TOTAL QUESTION 2: [47]

QUESTION 3: PROBLEM-SOLVING PROGRAMMING 
This question will focus on the actual appointments. Two arrays have been given:  arrtimes and arrdoctors.  
3.1 When the program is executed, this should be displayed: 

Write code to add the column (arrtimes) and row headings (arrdoctors). 
The current patients’ names are stored in a text file, patients.txt. Extract the  names and store them in a two-dimensional array, with class scope, called  ar2appointments. 
The layout of the text file is as shown below. 

Make use of a method to display the names in the string grid. (21)

3.2.1 Insert Method 
Write a method called Insert which will receive the name of the patient  as well as the column (doctor’s number) as parameters. A timeslot must  be randomised. If the doctor’s number is between 1 and 4 then the patient  must be allocated to that specific doctor in a timeslot that is available. If  the doctor number is 5, then the patient can be assigned to any doctor at  random. The appointment must be added to the two-dimensional array. 
Display a suitable message whether the appointment was made or not. (17)
3.2.2 Add Appointment Button 
The patient must enter the preferred doctor’s number. Use another  Inputbox to enter the patient's name and surname. Call the Insert method  and display the updated two-dimensional array in the string grid. (4) 
3.3 Change Appointment Button 
Enter the patient’s name and surname. Find the patient’s details in the two dimensional array and then call the Insert method. The patient must see the same  doctor as their original appointment. The original appointment must be deleted in  the two-dimensional array. Display the updated two-dimensional array. (7) 
3.4 Search Button 
Search for the patient’s name and surname that was entered. Display a message  that will include the doctor who will be seen as well as the time of the appointment. (5) 
3.5 Doctor Walk-In Button 
The doctor with the least appointments on the day will be responsible for all the  patients who need to see a doctor without a prior appointment. Write code to  calculate which doctor has the least appointments and display a message  indicating the doctor's name. (10) 

• Enter your name and surname as a comment in the first line of the program file.
• Save your program.
• A printout of the code may be required. 

TOTAL QUESTION 3: [64] 
TOTAL: 150

INFORMATION TECHNOLOGY
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This paper consists of SIX sections:
   SECTION A: Short questions (15)
   SECTION B: System Technologies (24)
   SECTION C: Communication and Network Technologies (25)
   SECTION D: Data and Information Management (24)
   SECTION E: Solution Development (21)
   SECTION F: Integrated Scenario (41) 
2. Read all the questions carefully.
3. Answer ALL the questions.
4. The mark allocation generally gives an indication of the number of  facts/reasons required.
5. Number the answers correctly according to the numbering system used in this  question paper.
6. Write neatly and legibly.

QUESTIONS 

SECTION A: SHORT QUESTIONS 
QUESTION 1 
1.1 Give ONE word/term for each of the following descriptions. Write only the  word/term next to the question number (1.1.1–1.1.10) in your ANSWER  BOOK. 

1.1.1 The protocol that defines how webpages and their content are  transferred across the Web (1) 
1.1.2 A collection of 8 bits (1) 
1.1.3 Collection of programs designed to use administrator rights to gain  control of a computer for dangerous purposes (1) 
1.1.4 An update that can be downloaded to fix a specific bug in software (1)
1.1.5 The electronic equivalent to junk mail (1) 
1.1.6 A part of a larger program that runs independently but  simultaneously with other parts of the same program (1)
1.1.7 The layout of the physical connection of the computers in a network (1) 
1.1.8 The posting of short text entries (140 characters or less) usually via  a cellphone or smartphone. (1) 
1.1.9 The latest generation of cellular communication technology (1) 
1.1.10 The total amount of data that can be transferred from one point to  another in a given period of time (1)

1.2 Various options are given as possible answers to the following questions.  Choose the answer and write only the letter (A–D) next to the question  number (1.2.1–1.2.5), for example 1.2.6 D. 
1.2.1 Copyright law is NOT broken when you ...  

1. copy music from your friend's computer to your mp3 player.
2. borrow a CD from a friend and copy it to your computer.
3. find and download music from the Internet.
4. copy your own CD to play on your mp3 player. (1)

1.2.2 An algorithm is ... 

1. a set of instructions written in a computer language that will  solve a problem.
2. a sequence of logical steps that will solve a problem.
3. the source code of a computer program that will solve a  problem.
4. a sequence of plans for the developing and selling of a  computer program. (1)

1.2.3 A cookie is a(n) … 

1. binary file that allows a program to run.
2. HTML file that contains Internet settings.
3. text file that stores information relating to websites.
4. file that stores information about a database table. (1) 

1.2.4 Which ONE of the following refers to an encryption process used to  authenticate the identity of the sender of an e-mail message? 

1.  Digital certificate
2. Digital divide
3. Digital handshake
4. Digital signature (1) 

1.2.5 Which ONE of the following is NOT a suitable application of  Bluetooth technology?  

1. Wireless communication between a mobile phone and a hands free headset
2. Wireless communication between PCs in different rooms.
3. Wireless communication with PC input and output devices
4. Wireless communication between mobile devices which are in  line of sight. (1)

TOTAL SECTION A: 15

SECTION B: SYSTEMS TECHNOLOGIES 
QUESTION 2 
Your friends have been telling you to replace your computer for the past year  because of its slow performance. However you are considering upgrading it and  have been doing a lot of research about the advantages and disadvantages of  upgrading. 
2.1 You have been advised to replace the RAM of the computer in order to  enhance its performance. 

2.1.1 How will you ensure that the new RAM is compatible with the  current motherboard? (1) 
2.1.2 One of your friends is of the opinion that, if there was enough  virtual memory, there is no need to upgrade the RAM. 

1. 1. Explain what virtual memory is. (2)
   2. Explain why virtual memory will not be the solution to  improve performance. (1) 

2.1.3 The statement, “Upgrading RAM means more cache memory is  available”, was made.  

1. 1. Explain the role cache memory plays in the performance of  a CPU. (2)
   2. Give THREE reasons why this statement is NOT true. (3) 

2.2 Most of the peripheral devices required are connected to the computer  using USB ports. Standard drivers are used. 

2.2.1 Write down the full term for the acronym USB. (1) 
2.2.2 Name ONE port other than the USB port, that can be used to  connect a digital video camera to a computer. (1) 
2.2.3 Define a driver in the context of computing. (2)
2.2.4 What is meant by the term standard driver? (1)
2.2.5 Name ONE device that makes use of a standard driver. (1)

2.3 It is suggested that you can buy a laptop to do everything that your desktop  computer can do. 

2.3.1 Do you agree with this statement? Motivate you answer. (1)
2.3.2 List TWO advantages and TWO disadvantages of a laptop. (4)

2.4 The CPU is considered as the brain of the computer system. 

2.4.1 State the two main aspects of the CPU that must be considered  because they have a direct influence on the system performance. (2) 
2.4.2 The CPU sometimes overheats. List TWO ways in which overheating  can be prevented. (2) 

TOTAL SECTION B: 24

SECTION C: COMMUNICATION AND NETWORK TECHNOLOGIES
QUESTION 3 
Your friends encourage you to buy another computer by saying that they can be  networked together with your tablet, phone, printer and even your work  computer. 
3.1 You will need an Internet connection. 

3.1.1 Name ONE type of broadband Internet connection that could be  used. (1) 
3.1.2 State TWO advantages of the type of broadband connection  mentioned in QUESTION 3.1.1. (2) 

3.2 A router will also be a requirement for your network setup. 

3.2.1 Briefly explain why a router is able to manage the bandwidth of a  network efficiently. (2) 
3.2.2 State TWO other functions of a router. (2)

3.3 You will need to setup a wireless network for your devices. 

3.3.1 Name ONE advantage of a wireless network. (1)
3.3.2 List TWO disadvantages of a wireless network. (2) 

3.4 You mention to your friends that you are going to need a website for your  business and then optimise it for popular search engines. 

3.4.1 State what a search engine does. (1)
3.4.2 Explain the purpose of search engine optimisation. (2) 
3.4.3 List THREE ways in which search engine companies try to  improve the searching of content on the Web. (3) 
3.4.4 Describe ONE of the ways stated in QUESTION 3.4.3. (2)

3.5 You discover that you will need to use HTML, JavaScript and Cascading  Style Sheets to make your website responsive. 

3.5.1 Differentiate between HTML and JavaScript. (2) 
3.5.2 You might also need a server side scripting language. Give TWO examples of server side programming languages. (2) 
3.5.3 Indicate why one would prefer server side technology over the other  technologies. (2) 
3.5.4 Give ONE advantage of using Cascading Style Sheets. (1)

TOTAL SECTION C: 25

SECTION D: DATA AND INFORMATION MANAGEMENT 
QUESTION 4 
During some weekends you run a small business at the regular local open market. Your  business involves selling second hand items that your friends and customers bring. You  add a 30% mark-up to the value of all the goods that you sell, as profit. To keep track of  sales and stock, you decide to use the MS Access database system.
4.1 One of your friends suggests that you hire a database administrator to help you  create the proposed relational database. 

4.1.1 List THREE duties that are carried out by a database administrator. (3)
4.1.2 What is a relational database? (1)

4.2 In order to design the database, you must identify the possible sources of data.

4.2.1 List TWO possible sources of data for your database. (2)
4.2.2 What is involved in data maintenance? (1) 

4.3 Whilst designing the database, the following table called Stock_DetailsTB structure is proposed for your database.  

4.3.1 You will need to normalise this table. What is the general aim of  normalisation? (1) 
4.3.2 Which field would you regard as redundant? Motivate your answer. (2) 
4.3.3 Use a diagram to split the databases into TWO tables. Clearly indicate  the table names, primary and foreign keys as well as the relationship  between the tables. (6)

4.4 In order to create queries to the table Stock_DetailsTB, SQL is used. 

4.4.1 Write a statement to show all the information from the table arranged in ascending order according to the price. (2) 
4.4.2 Write a statement that will delete the Item in the old basket called  Dress. (3) 
4.4.3 Malcolm Peter's phone number has changed. Change the contact  number to 0715624117. (3) 

TOTAL SECTION D: 24

SECTION E: SOLUTION DEVELOPMENT 
QUESTION 5 
You are organising a small LAN event. The participants will have to complete a  registration form. The information will be used to keep track of their results as well  as food orders. Access codes will be needed to gain access to the premises  where the event will take place.  
5.1 To create the access code the user will have to enter their name and  surname. All the vowels and spaces need to be removed. The first and last  character must be uppercase and a '#' must be added at the end.  Write an algorithm to create the access code. (7)
5.2 The following UML diagram is given. Answer the following questions. 

5.2.1 What does the '-' indicate? (1) 
5.2.2 What is the difference between a mutator and accessor method? Give an example of each making use of objLAN. (4) 
5.2.3 What is the purpose of a constructor? (2)
5.2.4 What is the purpose of a tostring method? (1)

5.3 Understanding a flow chart is seen as basic knowledge a programmer should  have. Another concept that is crucial is the ability to use a trace table to track the  input, processing and the expected output.  
Put your skills and knowledge to the test, by completing the trace table for the  following flow chart.  

Draw a trace table with the following headings: 

The input values are the following:  
1.8; 2.0; 1.0; 1.3; 1.0; 2.5; 2.0; 1.3; 1.8; 1.3; -1 (6)

TOTAL SECTION E: 21

SECTION F: INTEGRATED SCENARIO 
QUESTION 6 
Keeping track of goods, setting up a network system and identifying the appropriate  software systems, is required for the success of your small second-hand weekend  business. 

6.1 It has been suggested by a trusted friend that in order to keep the stock safe at  the stall, RFID tags must be attached to the clothing. 

6.1.1 List AND explain the TWO parts that make up the RFID system. (4)
6.1.2 Differentiate between a passive and active RFID tag. (4) 
6.1.3 Motivate whether it is advisable to use RFID tags for your stall  management. (2) 

6.2 In an attempt to effectively market your business, social networks are  suggested. 

6.2.1 Name TWO social networking sites that you could use to market your  products. (2) 
6.2.2 Social network sites also have a negative effect on concentration and  productivity. Describe TWO such ways in which it can happen. (2) 
6.2.3 Explain social engineering and how it can be used negatively in society. (2) 
6.2.4 As you market your business to groups on the social networks, why is it  important that you be careful of what you publish? (1) 

6.3 A colleague has developed an app that you are using to keep track of your  stock. Most of the information is on the server and one day he sends you a  message to inform you that the site has been attacked, but he is working on  solving the problem.  

6.3.1 He mentions that it is a Distributed Denial of Service (DDS) attack.  Explain what this is and how it works. (2) 
6.3.2 He also mentions something about discovering the botnets used for this  attack. Describe what a botnet does. (2) 
6.3.3 Your cousin insists that this problem was caused by a troll on the  network. Argue why this cannot be so. (2)
6.3.4 Suggest a possible name for the type of people who attack  websites with malicious intent. (1) 

6.4 In order to safely check bank balances and make payments online the  bank’s website makes use of SSL encryption and decryption technology.  

6.4.1 What does SSL stand for? (1)
6.4.2 What is meant by the term encryption? (1) 
6.4.3 SSL uses a special form of encryption called Public Key Encryption.  Briefly explain how a secure connection between a server and a  browser is established using this method. (4) 

6.5 Cloud computing has become very popular since the development and  popularity of the internet and you have been considering it seriously.  
Popular examples of these are online storage, online backup and file  syncing services. 

6.5.1 Define the term cloud computing. (2) 
6.5.2 Differentiate between online file storage and online backup AND give an example of each. (4) 
6.5.3 One of your friends believes that file syncing is the same as a  backup service. State whether you AGREE or DO NOT AGREE  with him. Substantiate your answer. (3) 
6.5.4 Most ‘cloud computing’ apps have a local front end. What does the  term local front end mean? (2) 

TOTAL SECTION F: 41 
GRAND TOTAL: 150

VISUAL ARTS
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of TWO sections:
   TOPIC 1: SOURCEBOOK
   TOPIC 2: THE ARTWORK
2. Answer ALL the questions in TOPIC 1 and TOPIC 2.
3. This examination must be introduced and facilitated by your Visual Arts teacher.
4. In this examination you will be expected to demonstrate the following: 
   • Independently and creatively apply advanced approaches to generating ideas  in response to a project brief.
   • Demonstrate an advanced degree of technical skill in the use of a range of  materials and techniques.
   • Solve visual and conceptual problems in the creation of imaginative and  innovative artworks, using a personal, expressive visual language.
   • Effectively manage time and the working process and present own work in a  professional manner that enhances the expressive and conceptual impact of  the work.
5. Your preparatory visual arts practical examination for Grade 12 represents the  culmination of your Visual Arts studies this year. Your creativity, originality and  skills will be highly displayed. May you enjoy creating this artwork and may it be  fresh and original, and communicate personal experience.
6. Read the ADDENDUM on page 13 which contains guidelines for new  media/multimedia/ and photography.

PRACTICAL 

TOPIC 1: SOURCEBOOK 
Conceptualised by the development and realisation of creative ideas. 
The sourcebook forms an important part of this examination. You may work on it both at  school and at home. It provides insight into the way you have formed ideas, alternatives  you have investigated as well as other processes leading to the final work. Your  sourcebook should clearly communicate all your thought processes, leading to the  making of the artwork. 
You should visually tell the 'story' of how your artwork was CONCEIVED,  DEVELOPED and PRODUCED through drawing, experimentation and writing. It  should reflect your INDIVIDUALITY and CREATIVITY as a Visual Arts candidate. 
Clearly mark this sourcebook as examination work and present it with your final  artwork, TOPIC 2. 

The sourcebook is part of your creative journey into developing the final artwork and  should reflect your creativity as an art candidate by being aesthetically exciting and  creative in its presentation.

TOPIC 2: THE ARTWORK 
The making of creative artworks, the management of the process and  presentation, following safe practice. 
The examination work must be done in the presence of the Visual Arts teacher  within the confines of the classroom. 
GENERAL GUIDELINES 

1. You are required to produce ONE artwork in the practical discipline you have  chosen this year. 
2. Your work may be presented as a single piece or possibly in the form of a diptych,  triptych or a series of works that read as one artwork. 
3. The artwork may NOT be taken out of the classroom. This is regarded as an  examination irregularity.
4. You may discuss the question paper with your Visual Arts teacher PRIOR to the  start of the examination.
5. There are no restrictions on size, but the artwork must be manageable and  durable in terms of transportation to an examination centre, if required by the  province.
6. Remember the importance of art elements and principles such as line, shape,  colour, texture, tone, space, rhythm/movement, balance, harmony,  proportion, gradation, variety and composition.
7. There are no specific prescriptions regarding the style of the work. It can be  naturalistic, expressionistic, decorative, conceptual, abstract, et cetera.
8. You may incorporate other media to create mixed-media work in any of the  practical disciplines. 

THEME 
UNITY AND HARMONY 
This theme is meant to inspire and challenge you. It is open to a wide range of  interpretations within your specific discipline. Your interpretation should be a  culmination of the creative process you embarked on in Grade 10. 

FIGURE 1: Former State Presidents of South Africa, FW de Klerk and Nelson  Rolihlahla Mandela holding hands, forging and symbolising unity during  negotiations towards the New Democratic South Africa.

Definitions: 

• Unity is defined as oneness, being one or single or individual, due interconnection of  parts; harmony between persons etc.; a thing forming a complex whole.
• Harmony is defined as combination of simultaneously sounded musical notes to  produce chords and chords progression; agreement, concord.
• Unity and Harmony refer to the wholeness which results from the successful  combination of the art elements of an artwork where everything fits together well and  creates a pleasing unity.

This theme can be descriptive, symbolic, or more metaphorical. Using your research  material, find an original and creative solution to create a truly individual/personal  interpretation of UNITY AND HARMONY. 
Artists have explored and interpreted this theme in their own way, devices and time! 
Study and explore the following artworks as reference for inspiration and but also  keeping in mind the definitions of the words, ‘unity’ and ‘harmony’ as given above. 
Bear in mind, the attached pictures are not to be used for artworks produced by  you for both TOPIC 1 and TOPIC 2. If used, a total new approach and a new  composition have to be explored! 

FIGURE 2: John Muafangejo: Hope and Optimism, linocut, 1984.

John Muafangejo used both of these principles in this artwork. A combination of black  and white figures represents black and white people holding hands, thus symbolising  unity. A combination of vertical black and white shapes in close proximity results in a  unified composition. 

FIGURE 3: Henri Matisse, Harmony in Red, oil in canvas, 1908.

Henri Matisse used colours in a non-representational way but was still concerned with  unifying them. The variety of shapes and lines in this work are unified by the red colour.

FIGURE 4: Maphazi Zinhle Nene, Ardmore, Crocodile, painted clay, undated.

FIGURE 5: Norman Catherine, Remains of another man, mixed media, 1988.

FIGURE 6: Gerard Sekoto, Street Scene, oil on canvas, undated.

FIGURE 7: Willem Boshoff, Cheap Labour, multi-media, 1981.

FIGURE 8: William Kentridge, Preparing the Flute, multimedia, 2005.

FIGURE 9: Noria Mabasa, Carnage ii, wood, 1970.

FIGURE 10: Billy Mandindi, Ritual, charcoal & crayons, 1989.

Now reflect on your own interpretation of UNITY AND HARMONY!

ASSESSMENT CRITERIA 
TOPIC 1: SOURCEBOOK 

TOPIC 2: THE ARTWORK 

FINAL MARK: TOPIC 1 (50) + TOPIC 2 (50) = 100

ASSESSMENT CRITERIA FOR PRACTICAL WORK (FET)

ADDENDUM 

TOPIC 1: SOURCEBOOK 

• There are no specific guidelines for the size, format, layout and ‘look’ and  ‘feel’ of the sourcebook.
• The sourcebook must document and show the process from the beginning to the  end.
• A clear link between the final visual/written information in the sourcebook and  artwork must be evident. 

TOPIC 2: THE ARTWORK 
As this is an examination, the candidate is not allowed to remove the artwork from the  examination room. No work may leave the examination venue. 
The candidate is encouraged to produce an artwork based on the medium he/she has  investigated/explored/chosen in his/her Grade 12 year. 
A successful artwork is a combination of concept and realisation. Emphasis should be  placed on aesthetic qualities and energy of the artwork. 
The candidate is free to choose any style that he has experimented with in his/her  matric year. These may include naturalism, expressionism, stylisation, abstraction,  symbolism, etc. 
In all digital multimedia/new media work, concept development and realisation must  play an important role. 

DARKROOM PHOTOGRAPHY 

• Produce a set of at least 5 related photographs.
• The candidate must do all the development of both the film and negatives at  school under the supervision of the teacher/invigilator.
• Place all contact sheets, tests strips and records of the process in the  sourcebook.
• Give careful consideration to the presentation of the work. 

DIGITAL PHOTOGRAPHY 

• The digital size must be at least A4 in size.
• The digital size must be at least A4 in size.
• Place the digital images on a disc (CD) and insert the disc into the front of the  sourcebook. 
• Submit the sourcebook with supporting information, with the final artwork(s).
  • Program used e.g. Adobe Photoshop 7
  • All digital software procedures
  • Tools used to manipulate his/her images
• Give careful consideration to the presentation of this work.

LIFE SCIENCES
GRADE 12 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017
The Life Sciences P1 Grade 12 September was written on Tuesday, 19 September 2017  and Life Sciences P1 on Friday, 22 September 2017. We were made aware of certain  errors, amendments and omissions that were discovered during the marking process. 
In order to address this and to ensure that learners are not disadvantaged, the following  standardised approach to marking must be adopted across the Province. The following  guidelines with regard to marking was prepared in conjunction with the examiner and  moderator. 

ERRATA  

LIFE SCIENCES P1  

LIFE SCIENCES P2 

VISUAL ARTS
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 
In this examination you must demonstrate the following skills: 

• The use of the correct art terminology
• The use and implementation of visual analysing and critical thinking
• Writing and research skills within a historical and cultural context.
• The placement of specific examples within a cultural, social, political and  historical context
• An understanding of characteristics/different creative styles 

Read the following instructions before deciding on which questions to answer:

1. This question paper consists of EIGHT questions. 
2. Answer any FIVE questions for a total of 100 marks. 
3. Questions and sub-sections must be numbered clearly and correctly  according to the numbering system used in the question paper. 
4. Questions appear on the left-hand pages, with visual sources on the right hand pages. 
5. Ensure that you refer to the visual sources reproduced in colour where  required. 
6.  Information already discussed in one question, will not earn marks if repeated in other answers. Cross reference of works of art is allowed. 
7. Name the artist and the title of each work of art which you discuss in your  answers. Underline the title of the work of art or the name of a building. 
8. Write clearly and legibly.
9. Write in a clear, creative and structured manner, in full sentences and  paragraphs, according to the instructions for each question. Bullets are not  acceptable, and act only as guidelines in your essay structuring.
10. A list of facts/table will NOT be accepted. Use the following guidelines for  the length of your answers.  

Note the mark allocation:

6–8 marks: a minimum of ½–¾ page  (paragraph) 
10–14 marks: a minimum of 1–1½ pages (short  essay) 
20 marks: a minimum of 2 pages (essay)

QUESTIONS

QUESTION 1: THE EMERGING VOICE OF BLACK ART IN THE 1950s AND  1960s 

1.1 With reference to the visual sources shown in FIGURES 1a and 1b, write a  comparative analysis of the two works (1 page) in which you discuss the  following: 

• Subject matter
• Composition and focal point
• The use of colour
• Style
• The atmosphere and mood
• The use of the figure(s) in each work 

Which artwork do you think has the greatest visual impact? Substantiate  your answer. (8) 
1.2 Write an essay of at least 1½ pages in which you discuss and evaluate  examples by any TWO artists you have studied and whose works reflect  ordinary people going about their daily lives in a manner that expresses  calm endurance of their painful experiences or an atmosphere of bustling  activities that masks these experiences. 
Your discussion should include the following: 

• Name of artist(s) and artworks
• Subject matter 
• Use of compositional devices
• Formal elements
• Style and techniques
• Message conveyed (12)

[20]

FIGURE 1a: Louis Maqhubela, Township Scene, oil on board, 1961.

FIGURE 1b: Peter Clarke, Wind blowing on Cape Flats, gouache, 1960.

QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND  INDIGENOUS ART FORMS 

2.1 Refer to FIGURE 2a and FIGURE 2b. Analyse and discuss these works in  an essay of at least 1–1½ pages. 
Refer to the following: 

• Subject matter 
• Symbols 
• Formal elements
• Style
• Composition (10) 

2.2 Choose and interpret any TWO works by any other artist(s) you have  studied, whose work has been influenced by African/indigenous art forms  (1 page).  
Refer to the following: 

• Name of artists and titles of the work
• Influences
• Visuals that relate to Africa-/indigenous artforms
• Use of material and style 
• Content and meaning (10)

[20]

FIGURE 2a: Alexis Preller, The Kraal, oil on canvas, date unknown.

FIGURE 2b: Walter Battis, Fishermen drawing nets, oil on canvas, 1955.

QUESTION 3: ART AND POLITICS – RESISTANCE ART 

FIGURE 3a reflects on the exploitation of cheap black labour during apartheid. 
3.1 Study the visual source FIGURE 3a and in a paragraph discuss how this  work reflects abuse and exploitation of cheap Black labour: 
Refer to the following: 

• The choice of images 
• Subject matter and media 
• Composition
• Meaning and interpretation (6) 

3.2 FIGURE 3b was inspired by the news video of brutal treatment of Black  migrant labour from outside the country. The installation is accompanied by  a sound track of the dogs barking. The visual illustration is a reconstituted  arrangement of still clips to describe the incident.  
Study the visual illustration and in a paragraph of about ½-–¾ page answer  the following: 

• Describe and explain what you perceive to have happened
• Discuss the different aspects of the medium used and how they  enhance the message
• How the title adds to the message conveyed (6) 

3.3 Choose ONE specific artwork that you have studied that make us aware of  the injustices in our past and present. Discuss this works in detail (1 page). 
Refer to the following: 

• Name of the artist and title of the artwork
• Subject matter
• Influences
• Media and technique
• Stylistic characteristics
• Success of art as a tool for making us aware of the injustice (8)

[20]

FIGURE 3a: Manfred Zylla, Games, Acrylic paint on hessian, 1985.

Video stills	Detail

FIGURE 3b: Willie Bester, Who let the dogs out?, sculpture installation, 2001.

QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM  RURAL SOUTH AFRICA 

4.1. With reference to the statement above, analyse and interpret the given  illustration FIGURE 4a by writing an essay of ½-–¾ page. Refer to the  following in your essay: 

• Influences
• Medium and technique
• Subject matter
• Composition
• Style and significance of the text
• Meaning of the artwork (7) 

FIGURE 4b is a shrine figurine and is therefore supposed to be enclosed in  a shrine for religious purposes. The sculpture would be regarded as a  power figure and the tribal people would pray to her and offer her gifts. 
4.2 Discuss the forms and features of the sculpture that render it a typical rural  African carving and show how the posture of figurine speaks of its spiritual  power. (6) 
4.3 Refer to FIGURE 4c. Credo Mutwa merges culture and nature which led  him to be defined as an ‘indigenous environmentalist’. 
With the above in mind, define the characteristics of the statue within the  context of the following: 

• Title
• Scale
• Site
• Forms and features (4) 

4.4 Review the three visual illustrations. How is the notion of procreation  emphasised in the three artworks? (3)

[20]

FIGURE 4a: John Muafangejo, Untitled,  Lino print.

FIGURE 4b: Shrine Figure, Yoruba,  Nigeria, wood, late 19th century.

FIGURE 4c: Credo Mutwa, Earth Mother, cement, Shamwari Game  Reserve.

QUESTION 5: MULTI-MEDIA AND NEW MEDIA – ALTERNATIVE  CONTEMPORARY AND POPULAR ART FORMS IN SOUTH  AFRICA 

5.1 With reference to the above statement and visual source FIGURE 5a, write  a paragraph (at least ½ page) in which you discuss the artwork considering  the following:  

• The medium used
• The message of the artwork (4) 

5.2 Also with reference to the above statement analyse and discuss  FIGURE 5b in essay format (at least ¾ page). Consider the following: 

• Application of art elements and principles
• Mediums relevant to the concept
• Meaning or message (6) 

5.3 For this question, you may not use a work which appears in this question  paper. However, you may use a different work by one of the artists used in  this paper. 
In essay format, of at least ONE page, recall, discuss and compare  at least TWO works in multimedia which you have studied,  substantiating each of the following: 

•  Name the work(s) as well as the artist 
• Media 
• Messages and/or meanings
• Influenced by which style of art
• Presentation (10)

[20]

FIGURE 5a: Damien Hirst, The Physical Impossibility of Death in the Mind  of Someone Living, 1991.

FIGURE 5b: Damien Hirst, FOR THE LOVE OF GOD.

QUESTION 6: POST-1994 – DEMOCRATIC IDENTITIY IN SOUTH AFRICA 

In FIGURES 6a and 6b Thembinkosi Goniwe and Churchhill Madika critically deals  with the issue of identity as a social construct respectively. While Goniwe deals  with contemporary “unspoken racial constructs” that are visible today, Madika  questions imposed Amaxhosa traditions that infringe on one’s freedoms. 
6.1 With the above in mind, write an essay of about ¾ of a page in which you discuss how each artist deals with his issue in the visual sources. 
Refer to the following: 

• Mediums used
• Style and technique
• The commentary these artists make
• Which one makes the strongest impact, with reasons for your choice (8) 

6.2 Write an essay of at least 1½ page, discussing the work of any TWO South  African artists you have studied, who question and reflect on their post-1994  identity. Refer to specific works of art in you answer, which do not appear  on this question paper. (12) 

[20] 

FIGURE 6a: Thembinkosi Goniwe, Untitled, Billboard as part of the  Returning the Gaze Project, Cape Town, 2000.

FIGURE 6b: Churchill Madikida, Struggles of the heart, C-Prints stills from  video, 2003.

 QUESTION 7: GENDER ISSUES 

7.1 With reference to the statement above and Figures 7a and 7b, discuss the  possible meanings of these two works and how their work pertain to gender  issues and gender identity. Refer to the following: 

• Use of title 
• Subject matter
• Composition 
• Style and approach (8) 

7.2 Write an essay of at least 1½ pages, discussing the work of any TWO artists  you have studied, who question gender identity. Refer to specific works of  art in you answer, which do not appear in this question paper. (12)

[20] 

FIGURE 7a: Frida Kahlo, The broken column, oil on canvas, 1944.

FIGURE 7b: Nandipha Mntambo, Emabutfo, cowhide, resin, polyester  mesh and waxed cord, 2009.

 QUESTION 8: ARCHITECTURE IN SOUTH AFRICA 

8.1 Considering the above-mentioned, study FIGURE 8a and 8b, and consider its  relevance in its own time as an example of innovative architecture. Write an  essay of ONE page, in which you evaluate the innovative accomplishments.  You may include thoughts on the following:

• Principles of design applied
• Influences and creative thought 
• Peculiar characteristics
• Aims and effective functionality (8) 

8.2 In an essay of approximately 1½ pages, clearly analyse TWO commemorative  structures a South African architect(s). Discuss the shapes, materials and  design which place them in a category of outstanding impact. 
The following aspects may well be relevant: 

• Names of architects/companies and buildings
• Special features
• Peculiar materials, technology and design
• Ecological considerations
• Environmental issues
• Functionality (12)

[20] 

FIGURE 8a: Pierre Swanepoel, Studiomas Architecture, Circa Building.

FIGURE 8b: Pierre Swanepoel, Studiomas Architecture, Circa Building, night  time.

TOTAL: 100

VISUAL ARTS
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 
Read the following instructions carefully before commencing marking: 

1. This memorandum consists of EIGHT questions. Candidates had to answer  any FIVE questions for a total of 100 marks. 
2.  It is MOST IMPORTANT that allowance is made for the candidates in many  instances: 
   • Candidates must be given credit for providing their own opinions and ideas  in answers. 
   • Credit must be given for lateral thinking. 
   • Arguments and statements must be well reasoned and qualified by  reference to specific factors.
3. Questions and subsections must be numbered clearly and correctly. Bullets  usually act as guidelines to help structure candidates' answers. 
4. Information and artworks discussed in one answer must not be credited if  repeated in other answers, but artworks may be cross-referenced. 
5. Where applicable, candidates must name the artist and title of each artwork  mentioned. 
6. Where appropriate, candidates may discuss both two- and three-dimensional  artworks in any answer. 
7. Remember that many candidates will be discussing these examples, never  having seen them before. Markers therefore cannot expect factual, academic  information. They should draw upon their own experiences, cultures and  interpretations of the artworks, within the context of the question. Therefore,  markers need to be open-minded and flexible in the marking process.  

GENERAL INFORMATION FOR MARKERS  

• This memorandum is to serve as both a guideline for markers as well as a  teaching tool. Therefore, the memorandum for certain questions is in  greater depth, as the information may be used as learning material. Other  parts of the memorandum may merely be a suggested guideline. 
• NOTE: Markers are encouraged to reward candidates for what they  know, rather than punish them for what they don't know. 
• Although the information for the questions is given in point form,  candidates must use an essay/paragraph format discussing their  information in a holistic manner. 
• Candidates must answer all the questions in FULL SENTENCES or  PARAGRAPHS, according to the requirements of each question.  Answers in point form cannot receive full marks.

GUIDELINES: 
It is expected of the CANDIDATE to demonstrate the following: 

• To answer any FIVE questions for a total of 100 marks.
• Questions and sub-sections to be numbered clearly and correctly.
• Information already discussed in one question, not to be repeated. If  repeated, marks are allocated the first time only. Cross reference to works  of art is allowed.
• That answers will be in full sentences and paragraphs, according to the  instructions for each question. POINT FORM WILL EARN ONLY MINIMAL  MARKS. 
• The use of correct art terminology.
• The use and implementation of visual analysing and critical thinking.
• Writing and research skills within a historical and cultural context.
• Placing of specific examples within a cultural, social and historical  context.
• An understanding of characteristics/peculiar creative style.
• The identification of the professional practice of local artists. 

It is expected of the MARKER to demonstrate the following: 

• Acceptance of substantiated reasoning within the context of the question.
• Keeping in mind information already supplied above in some of the questions.
• To mark according to guidelines supplied to the candidates above.
• To recognise that this memorandum is to serve as both a guideline for  markers as well as a teaching tool. For this reason the information for some  answers is in greater depth and information concerning other answers, may  merely be suggested guidelines.
• To reward learners for what they know, rather than discrediting them for what  they do not know.
• To refer to the Visual Arts SAG document rubric (p24) as guideline to  assess levels of achievement. (See next page) 

NOTE: 

• Remember that many candidates will be discussing these examples never  having seen them before. Markers therefore cannot expect factual academic  information. They should draw upon their own experiences, cultures and  interpretations of the artworks, within the context of the question. Therefore,  markers need to be open minded and flexible in the marking process.

MEMORANDUM 

QUESTION 1: THE EMERGING VOICE OF BLACK ART IN THE 1950s AND  1960s 

1.1 Subject Matter 
FIGURE 1a is a figurative expression of life in the township that shows an everyday scene of people going about their daily business. Three women with  their backs to the viewer hold their young ones as they rush to a salesman’s  truck, to help themselves with the grocery pick and return home before the  turbulent gusty weather worsens into a storm that the dark grey blue sky in the  background portends. The fact that the women are moving with their children  suggests they have nobody to leave them with in their care at home, as the men  are out at work or minding their own business. In the background on the left of  the truck, a man holds on to the swaying stem of a tree that threatens his  existence, while on the left the milk salesman cycles while going about his daily  rounds. The chimney smoke in the houses speaks of the cooking that is going on  the coal stoves in the houses, as the occupants had no electricity. 
FIGURE 1b: The physical effect of the Group Areas Act on the lives of people is  shown in this gouache painting. People were relocated from the places such as  Simonstown and District Six, which were then classified as ‘white areas’ by the  governments. They were moved to new developments on the Cape Flats such  as Atlantis, Bonteheuwel, Lavender Hill and Ocean View. The new communities  were located in sandy areas without proper roads and they were far away from  jobs and town centres. This was part of the suffering caused through the  displacement of previously close-knit communities. In the work Clarke depicts the  experience of people having to walk to their desolate homes on the sand-dunes  struggling against the strong ‘Cape Doctor’ (south easterly wind) for which the  peninsula is famous. Three people, a young woman with a bag and a man with  a child are walking towards three meagre corrugated iron houses. 

Composition and focal point 
In FIGURE 1a three women and their young ones all stand with their backs to  the viewer, occupying the foreground with two trees, one visible on the extreme  left and one partially visible on the extreme right, all making the viewer appear  to be following at a distance. The central part is an open space occupied by  lean dogs represented in profile that are engaged in nose-to-nose threat play. 
The background is dissected in to two parts by the truck. On the left a house,  two trees and a figure and on the right, the cyclist, milk man, the tree and a  house. The set up makes the composition asymmetrical. The viewer’s eye first  picks up the three women, particularly the one in a red dress. The direction they  are facing directs the viewer’s eye to the form of angular truck rendered to  emphasise the use of linear perspective. The strong red dress of the woman  in the foreground attracts the viewer's eye as a dominant focal point which is  then picked up in the red scarf on the other form and the shirt of the man on the  bicycle. In this rectangular composition, the truck in the middle distance also  serves to lead the eye into the composition. The strong contrast of the warm  yellow of the earth advancing towards the viewer is very reminiscent of the work  of both Gauguin and Nolde. The cooler blues of the sky in the distance gives a  sense of recession of space. 

In FIGURE 1b the three people with their backs to the viewer are portrayed by  employing a linear perspective. This makes the viewer seem to be following  in their seemingly long and tired trudging footsteps. Everything is leaning to  the right, the sparse grass on the dunes, the ripples on the dunes, the tree and  the figures that speaks of the strength of gale force experienced. The inclination of the two figures to the left paralleled with the diagonal lines of the  sand dunes and the line in the sky all create a sense of rhythm that speaks of  a shared experience. The artwork can be divided into two parts; the creamlike dull greens occupying the foreground and the purple blues and whites in the  background sky. The focal point is the girl with the bag. She is not only the  largest figure in the work but the lines of the sand dunes lead the eye to her.  The houses confirm the use of linear perspective. There is also use of aerial  perspective that resulted in light colours and less defined shadows on the  smaller figures and sand dunes in the middle ground. 

The use of colour 
FIGURE 1a: The painting is mainly characterised by the use of strong  contrasting colours such as greens, yellows, reds, blues and browns for the  different aspects. This is except for the woman on the left and her son who are  painted in dull cream and cream-brown. The figures are painted in strong  colours that quickly capture the viewer’s eye. The woman in the central  foreground is painted in strong red that links her to cyclist in the background. The one on the left is in strong yellows with her baby’s dress and head dress  being in red. The trees and their foreground from which they stem are treated  with strong greenish yellow that contrasts with the very warm yellow used for  the central part and background. The strong contrast of the warm yellow of the  earth advancing towards the viewer is very reminiscent of the work of both  Gauguin and Nolde. The cooler blues of the sky in the distance gives a sense  of recession of space. 

FIGURE 1b: In contrast to Maqhubela, Clarke uses colour that is subtle; mostly  white, cream, brown, grey and blue, accurately recreating the washed-out  colour of the Cape Flats on a windy day. The dark browns are repeated  throughout the composition in long shadows on the little girl and the man, and  the girl’s blown hair and dress. The yellow house at the top gives a little warmth  and may be symbolic – after the struggle against the wind, the simple house  at least gives protection against the elements and difficult social conditions. 

Style 
FIGURE 1a: Maqhubela creates a lively scene full of expressionistic colour  and vibrancy. His figurative expression of life in the township shows the  everyday scene of people going about their daily business. Maqhubela uses  strong contrasting colour which are very marginally tonal to render it almost  flat. He employs a dark thick broken outline to enhance the definition of his  shapes and form and rough surface outlines for texture. Maqhubela like Van  Gogh uses thick impasto paint that forms strong lines and winding  brushstrokes creating a sense of energy and life in the trees.

FIGURE 1b: Clarke used subtle colours, mostly white, cream, brown grey and  blue, accurately recreating the washed out colour of the Cape Flats. The  cloudy sky has been treated schematically. There is simplification in and  angularity in the shapes that shows an expressionistic influence. Everything is  stripped down to basic shapes as the sand dunes are, by representing them as angular shapes. This angularity is repeated in the sharply defined shape of  the girl’s dress and more painted rippled surface of the sand dunes. Clarke’s  ability create stylised geometric rhythm throughout the whole composition is represented in this painting. 

The atmosphere and mood 
FIGURE 1a: Energetic/Excited – Everything depicted is active and busy. 
FIGURE 1b: Sad and Depressing – Experience these people had to walk  back to their desolate homes on sand dunes, struggling against the ‘Cape  Doctor’ (south easterly wind). 
Accept relevant and insightful commentary, with substantiation. 

The use of the figure(s) in each work 
FIGURE 1a: Figures are used to speak of suffering that was caused to them  through displacement. 
FIGURE 1b: Figures are used to show how people went about their daily  lives with enthusiasm in spite of the odds. 

Artwork that has the greatest visual impact 
Accept relevant and insightful choice with substantiation. 
Candidates must score at least a mark from each bullet. (8) 

1.2 Learners to write an essay of at least 1½ pages in which you discuss and  evaluate examples by any TWO artists you have studied whose works reflect  ordinary people going about their daily lives in a manner that expresses calm  endurance of their painful experiences or an atmosphere of bustling activities  that masks these experiences. 
Their discussion should include the following: 

• Name of artist(s) and artworks
• Subject matter
• Use of compositional devices 
• Formal elements
• Style and techniques
• Message conveyed 

(12) 
[20]

QUESTION 2: SEARCH FOR AN AFRICAN IDENTITY IN SOUTH AFRICAN ART  SINCE 1950 
2.1 Subject matter and composition 
FIGURE 2a: The Kraal one of Preller’s poetic interpretation of Ndebele life and  culture. It is a modern painting featuring African women in a village. In the bottom  right corner, a woman with red hair walks toward the centre of town. The shirt she  is wearing only covers the top half of her breasts and the expression on her face  is solemn. She is about to pass a woman in a pink dress sitting hunched away  from the viewer. A woman’s face is very near the bottom centre of the picture, her  hair is either very unusual, or there are objects protruding from her skull. The  bottom left corner feature four women, none of them wearing shirts, with slouched  postures. One of the women is lying down in the street. 
The centre of the painting features a red llama-like creature balancing on an  abstract object, with a giant candle on its back and tiny figures dancing around the  flame of the candle. Toward the left of this oddity is a naked woman hugging a  candle that is twice as tall as she is. One of the homes in the middle of the scene  has large chunks of roof missing. The house to the left of it has flags and blankets  draped over it, possibly hiding more holes. 
The work is a visual universe of the exotic, exhilarating and strange – an ancient  African universe. A personal romantic vision of an archetypal African tribe. Still life  objects as elements of the central theme: domestic or household gods, masks,  patterned vase, shells, mangoes and eggs. 

In FIGURE 2b the fishermen are drawing nets. Battis painted a naturalistic scene  of the daily tasks of a group of African people. The people are represented as  anonymous silhouettes which is reminiscent of the figures represented by the San.  The figures can be divided into two groups: The diagonal line running in the left 
hand corner of half-bent figures with one standing that seem to be steading the  boats and in the upper part another parallel diagonal line of figures, facing the ones  below, majority of which are bent-double trying to haul the catch in the nets. The  composition suggest that the viewer is standing from an oblique aerial position  looking down at the activity, such that the flat blue tonalities of broken brush strokes  do not suggest much spatial recession, thus making the background relatively flat. 

Symbols 
In FIGURE 2a one makes observations of tribal life and rituals from the mysterious  surviving ruins, fetishes and symbols from the art of the primeval past. The village is divided into two sections: The foreground section that is occupied by women,  many of which are half-dressed and occupy the margins of the section and the men  in section at the back. 
The centre of the painting features a red llama-like creature balancing on an  abstract object, with a giant candle on its back and tiny figures dancing around the  flame of the candle. Towards the left the candle is repeated and enlarged to be  twice as tall as the naked woman hugging it. Behind it two other naked women sit  on the floor facing the candle. The candle is white and lit. It could be symbolising  the importance of purity and virginity celebrated by the virgins of the tribe. 
This is probably done before a senior mother sitting in the doorway who is tasked  with the duty of mentoring young girls to keep their virginity sacred. Purity becomes  the drum-beat of transition to womanhood. In the men’s section four naked men are  dancing around a giant phallic structure that appears to double as a bird’s nest. And  in the very top right corner is a giant egg, sitting alone in a fenced yard. The structure  could be symbolising manhood that is celebrated by men after circumcision. An egg  alone in a fenced yard representing how virgin women are guarded until the time is  right to lose their virginity – the egg hatching. There are many white birds in the  picture; there is a belief that that they are the souls of human beings who have  reached a high state of perfection. The bird is the freest of the free, the fattener, the  fertiliser. It is also known that Northern-speaking people never cut these trees down. 
Why? These are the trees upon whose branches migratory birds rest, when they  come into southern Africa at certain times of the year and birds are symbols of  sacredness and fertility. 

In FIGURE 2b Walter avoided symbolism that we encounter in his Symbols of life and Mantis man. 
Accept any substantiated symbolic interpretation. 

Formal elements 
FIGURE 2a: Preller employs a format that balances the horizontal and vertical to  create harmony, peace and unity in the work. The horizontal landscape speaks of  peace and calm while the vertical represented in the structures and the figures that  speak of spiritual and cultural power and strength in the community. He also uses a  hard-edged precise outline that defines the forms and figure which has a textured  soft thin for naturalistic textural qualities and stylised patterns. Preller also uses  strong contrasting colours; reds, browns, yellow-greens, white and cool pithalo  blues. The warm colours are mainly used for the forms in the foreground punctuated  with a few whites, like on the candles and birds and cool pithalo blues on the faces  of the walls. The background is rendered in cool pitalo blues to enhance the spatial  recession. 

FIGURE 2b: Lines-Batiss applies a relatively horizontal format, filled with thick black  angular lines that are shaped silhouettes representing the black fishermen.  Diagonal curved lines are used to suggest the shape of boats and the tugging of the  nets. Linear effects of calligraphic marks can be seen in his handling of the  squirming fish. Colours – Batiss used mixed reds and oranges for the boats and  nets to contrast them with the variety of blues that were used to depict the water, thus creating a feeling of three-dimensional depth.  

Style 
FIGURE 2a: The style is surrealist with elements and imagery of the real and the  non-real combined to create a dreamlike atmosphere. Intense colour and  distortion is employed to create a perfectly balanced palette. Stylised; sound  structural composition, with discrepancies in scale, particularly of the figures, in  relation to the perspective is used. The work has decorative qualities. Strong  contrasting colours are used and paint is smoothly blended in true surrealistic  style.

FIGURE 2b: Batiss painted a naturalistic scene of the daily tasks of a group of  African people. It is most probably a scene that he witnessed and recreated in an  expressive style. It is related to the fauvists’ decorative composition and it can also  be seen in the rhythmic spreading of figures in combination with the diagonal  curved shapes of the fishing nets. The blackness of the figures contrasts starkly  with the background in which the loose brushstrokes create the feeling of  movement of water and abundance of the fish caught in the nets. (10) 

2.2 Learners to choose and interpret any TWO works by any other artist(s) they have  studied, whose work has been influenced by African- /indigenous art forms  (1 page).  
They should refer to the following: 

• Name of artists and titles of the work 
• Influences 
• Visuals that relate to Africa-/indigenous art forms 
• Use of material and style 
• Content and meaning 

Award marks for each of the two works as from 5 + 5. (10)

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QUESTION 3: ART AND POLITICS: RESISTANCE ART  
3.1 Learners to study the visual source FIGURE 3a and in a paragraph discuss how  this work reflects abuse and exploitation of cheap Black labour: 
In FIGURE 3a Zylla used a complex cast of characters to tell the story of South  Africa in 1985. Four young black boys are relaxing on sand dunes in the centre of  the work; then we realise that they are behind a dartboard with darts being thrown  at them. In the top left-hand corner, the scoreboard tells us the game is called  Killer. This ominous feeling is reinforced by the cast of figures who encircle the  boys. There are a lot of military figures who are attacking the boys. These figures  are based on model soldiers and include Roman soldiers and knights in shining  armour. On the left-hand side, there are parliamentarians watching the game. Their  desks are huge bank notes, the two larger smiling figures are previous ministers of  finance with their eyes blinkered by banknotes. There also skyscrapers made from  stacks of money and a large pair of hands pushes more money under the army  attacking the four boys. On the right, there are cars parked so that the people  inside can view the game. At the top are matchbox houses of Khayelitsha which  ironically means ‘new home’. In the work Zylla shows how money played a huge  role in upholding the apartheid system. Those in power wanted to retain financial  power and needed to exploit the huge pool of cheap black labour at the cost of the  labourers’ lives. (6)

3.2 Learners to study the visual illustration and in a paragraph of about ½-–¾ page  answer the following: 

• Describe and explain what they perceive to have happened. 
• Discuss the different aspects of the medium used and how they enhance the message 
• How the title adds to the message conveyed 

FIGURE 3b was inspired by a news video that shocked the world. The footage  showed how local SAPS dog unit policemen trained their dogs by letting them loose  on illegal African immigrants from Mozambique. The dogs attacked three men and  probably killed one of them. The incident is a brutal reminder of how much racism  is still a part of South Africa. It is also upsetting that a member of the dog unit filmed  the incident. The work is an installation of a series of life size sculptures, partly  representational and partly constructed from discarded objects. A victim lies in pain  while a dog attacks him, while a policeman watches and another policeman makes  a video. The two policemen are monumental figures who are focussing their  attention on the victim. One holds a chain trailing a dog muzzle. They are terrifying  figures. The installation is accompanied by an audio track of the dogs barking, the  cries of the victims and the crude language of the policemen. The title of the artwork  is ironically the same as a pop song of the time. Bester reminds that all too often  in our society the ‘dogs are let out’ and those who let them out pretend not to know  anything about it. (6) 

3.3 Choose ONE specific artwork that you have studied that make us aware of the  injustices in our past and present. Discuss this works in detail (1 page). 
Refer to the following: 

• Name of the artist and title of the artwork 
• Subject matter 
• Influences 
• Media and technique 
• Stylistic characteristics 
• Success of art as a tool for making us aware of the injustice 

(8) 
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QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL  SOUTH AFRICA 
Many rural black South African artists have been influenced by Christianity which has  been combined with traditional spiritual beliefs and customs. 

4.1. With reference to the statement above, learner to analyse and interpret the given  illustration FIGURE 4a by writing an essay of ½-–¾ page. They should refer to  the following in their essays: 

• Influences 
• Medium and technique 
• Subject matter 
• Composition 
• Style and significance of the text 
• Meaning of the artwork 

FIGURE 4a: Muafangejo’s Christian influence started at the Anglican Mission  Station at Epinga where her mother had relocated with him after his father’s death.  His talent for drawing was noticed by an uncle who encouraged him to draw  everyday life. An American priest, John Mallory, suggested that he should study  further in art at the Rorke’s Drift art centre. Muafangejo trained at the centre  between 1968 to 1969. There under the influence of Azaria Mbatha Muafangejo  developed his artistic ability and preference for linocut, a medium used for  FIGURE 4a. 

FIGURE 4a is a personalised representation of the birth of Christ: In the forefront,  Mary partially facing the viewer kneels in a prayer posture on the extreme right. On  the extreme left Joseph rendered in profile faces Mary. Between them in the centre  baby Jesus lies in an oval shaped manger. Behind the manger two cattle look down  upon the new born Christ. In the background bending branches of vegetation and  angular stylised shapes and patterns punctuate these branches to create an  atmosphere of thick vegetation. In the work, Muafangejo’s simplifies his figures and forms to shapes with clear cut  white outline. Thus his style can be described as an expressive version of reality  which reveals a deeper insight into life as perceived and experienced, for instance  the scale of Christ is much bigger and older than a new-born which emphasises that Christ existed before birth. Another example is the ranking of the divine figures  where Jesus and Mary are accorded haloes whereas Joseph is denied one. In  combination with the expressive way in which he captured experiences, he also  created a highly decorative style with repetition of lines and shapes which then  resulted in pattern-like style. Through this decorative style he created strong  rhythmic effects in the contrast of flat black areas as discernible in the figures of  Joseph, Jesus and one of the cattle or lines seen in the positive and negative forms  for instance the floor of the manger, Mary’s dress, one of the cattle and the angular  forms in the background amidst the branches at the top.
Typical of his style, Muafangejo has provided a text in this work – “The birth of  Christ in 1977”. Since the work was probably completed in 1977, this statement  could be stating that completion of the work that year was at the time of celebrating  the birth of Christ. 
Accept any other explanation with logical substantiation. 

FIGURE 4b is a shrine figurine and is therefore supposed to be housed in a shrine  for religious purposes. The sculpture would be regarded as a power figure and the  tribal people would pray to her and offer her gifts. (7) 

4.2 Learners to discuss the forms and features of the sculpture that render it a typical  rural African carving and show how the posture of figurine speaks of its spiritual  power. 

• The features tend to be geometric simplifications. The head is a simplified  cone with mask like shape of the face; big round eyes; breasts are sharply  pointed cones etc.
• The head carries a head dress that is markedly pushing out into space. It is  designed to attract and concentrate spiritual power.
• The neck, torso and arms are elongated.
• The body is small as it is less important
• The mother figurine is carrying a little baby on her back suggesting she could  be a fertility ancestral figurine. 
• The mother figurine is kneeling in a respectful/and honouring posture  expected of an African woman serving her husband or a higher spiritual. Her  eyes seem closed as if in prayer. The posture could also be viewed as a  posture of a figurine expecting to be honoured in a manner of her posture  and offerings to her should be placed in a receptacle she is holding out. (6) 

4.3 Refer to FIGURE 4c: Credo Mutwa merges culture and nature which led him to  be defined as an ‘indigenous environmentalist’. 
With the above in mind, Learners to define the characteristics of the statue within  the context of the following 

• Title 
• Scale 
• Site  
• Forms and features 

The earliest written dated literal references to the term “Mother Earth” occur in  Mycenaean Greek. Ma-ka (transliterated as ma-ga), "Mother Gaia", written in  Linear B syllabic script (13th or 12th century BC). Mother Earth is a living Goddess.  This belief has been held by numerous cultures throughout history, and, in certain  traditions, such as shamanism, is still regarded as central in terms of both  philosophy and practice. In many of the world’s mythologies, mother nature refers  to the earth goddess. An Earth goddess is a deification of the Earth, in the sense  of fertile soil – producer and feeder of nature. The title of the artwork derives from  this.
The artwork is a huge, broad sculpture of a woman towering three times the height  of the shrub where it is sited. This speaks of the size of the earth as a producer  and nurturer of life. The site of the statue – Shamwari Game Reserve adds to the  interpretation of the role of mother earth; produce, feed, nurture and  conserve/protect which is the purpose of this huge game reserve-conservation. 
Mother Earth has three breasts that represent birds, fish and animals on land. The  figure is holding a mealie-kob which speaks of mother earth, the feeder, the  provider of food to the land creatures. The skull she is leaning on represents the  ancestors which play a vital role in the Xhosa culture. The dolphin is seen by Credo  as man’s connection with nature and god. According to Mutwa both the whales and  dolphins were supernatural creatures and incarnations of a dead god. According  to Mutwa, the San were able to communicate with the dolphins by using a series  of clicks and other sounds that are close to the Khoisan language. 

Accept any other substantiated definition of the characteristics. (4) 

4.4 Learners to review the three visual illustrations and show how is the notion of  procreation is emphasised in the three artworks. 

FIGURE 4a: Birth of Christ 
FIGURE 4b: The shrine figurine is carrying a baby 
FIGURE 4c: The three large breasts which are a source of food for creatures  they represent (3)

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QUESTION 5: MULTI-MEDIA AND NEW MEDIA – ALTERNATIVE  CONTEMPORARY AND POPULAR ART FORMS IN SOUTH  AFRICA 

5.1 With reference to the above statement and visual source, FIGURE 5a,  learners to write a paragraph (at least ½ page) in which they discuss the  above statement by considering the following:  

• The medium used
• The message of the artwork 

FIGURE 5a was made using the following medium: glass, painted steel,  silicone, monofilament, shark and formaldehyde solution. 
The fact that the main focal point of observation is the shark naturally created  and that all Damien had to do was to find a way of creating an illusion of it  being alive expressing a life-threatening attack appearance, invited critics to reintroduce the question raised during Duchamp’s times of whether ready mades should be considered as art and resulted in comments being made to  suggest that it was not art as anyone could have done it. Hirst responded, “But I did it. It didn’t exist until I did it.” 
The message of the art work lies more in the interpretation of the title within  the context of the art object – the shark in the tank. The piece consists of a  dead tiger shark suspended in a tank of formaldehyde. It is intended to shock  – and it certainly does – but its meaning goes much deeper. It could be  meaning that in the mind of the living, the idea of life after death remains alive  even though there is clear evidence of physical death, thus making physical  death impossibility in the mind. Life after death remains an illusion in the mind  and is represented in the physical appearance of the shark seeming to be  alive and its appearance conserved so. This meaning kind of pokes fun at the beliefs of many religious denominations. 
Once the initial shock of the shark’s presence subsides, you can engage with  deeper conceptual layers of the piece. 
This carcass is a raw chunk of nature, and yet there is something otherworldly  about seeing a shark in this highly unnatural context. The blue liquid emulates  the shark’s natural habitat – which makes for a startling juxtaposition in the  environment of an art museum. The shark is not surrounded by undulating  schools of fish, but rather, by museum patrons leisurely strolling around it with  audio guides in hand. It puts your senses on edge, and you begin to wonder:  is it museum-quiet at the bottom of the ocean? Inside the tank? On the other  side of death?
The shark is both ghostly and ghastly. Its glowing whitish pallor grants it an  ethereal presence in the murky formaldehyde, and yet it is in a visible state  of decay. The shark tank functions as both a casket and artistic pedestal. The  artwork constantly reminds you of two simple facts: This thing is dead. And  when it was alive, it could have killed you. 

Accept any other logical interpretation with substantiation. 
Learner can only be allocated a maximum of two marks from an answer on  each bullet. (4) 

5.2 Also with reference to the above statement learners to analyse and discuss  FIGURE 5b in essay format (at least ¾ page). They should consider the  following: 

• Application of art elements and principles 
• Mediums relevant to the concept 
• Meaning or message 

For the Love of God is a sculpture by artist Damien Hirst produced in 2007.  It consists of a platinum cast of an 18th-century human skull encrusted with  8,601 flawless diamonds, including a pear-shaped pink diamond located in  the forehead that is known as the Skull Star Diamond. Basically, the sculpture  takes the shape, spaces (positive and negative) and forms of the original skull  except for the teeth which are real; natural ready-mades. The encrusting of  the skull with the diamonds not only transformed the texture from smooth to  rough but also transformed the appearance from frightening white to shiny  ornamental look. 
The skull’s teeth are original and were purchased by Hirst in London. The fact  that the original from which the cast was made was a ready-made-natural  and the diamonds encrusted were also ready-made reverberates the issue of what is considered art, as opposed to not art. As an art form, found objects  tend to include the artist’s output – at the very least an idea about it, i.e. the  artist's designation of the object as art – which is nearly always reinforced  with a title. There is usually some degree of modification of the found object,  although not always to the extent that it cannot be recognised, as is the case  with ready-mades. In this case there is discernible modification which in spite  of the fact that the title was just coined and says little about it, the work  remains Hirst’s artwork. 
The artwork is a Memento mori, or reminder of the mortality of the viewer. The skull is out of this world, celestial almost. It proclaims victory over decay.  At the same time it represents death as something infinitely more relentless.  Compared to the tearful sadness of a vanitas scene, the diamond skull is  glory itself. What looks ornamental, precious and long-lasting carries death  beneath it. 

Accept any other logical interpretation with substantiation. (6)

5.3 For this question learners may not use a work which appears in this question  paper. However, they may use a different work by one of the artists used in this  paper. 
In essay format, of at least one page, they must recall, discuss and  compare at least TWO works in multimedia which you have studied,  substantiating each of the following: 

• Name the work/s as well as the artist  
• Media 
• Messages and/or meanings 
• Influenced by which style of art 
• Presentation (10)

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QUESTION 6: POST-1994 – DEMOCRATIC IDENTITIY IN SOUTH AFRICA 
In FIGURES 6a and 6b Thembinkosi Goniwe and Churchill Madikida critically deals  with the issue of identity as a social construct respectively. While Goniwe deals with  contemporary “unspoken racial constructs” that are visible today, Madikida questions  imposed Amaxhosa traditions that infringe on one’s freedoms. 

6.1 With the above in mind, write an essay of about ¾ of a page in which you  discuss how each artist deals with his issue in the visual sources. 
Refer to the following: 

• Mediums used 
• Style and technique 
• The commentary these artists make 
• Which one makes the strongest impact, with reasons for your choice 

FIGURE 6a deals with the “unspoken racial constructs that are visible and implicit  in our ‘Post-Colonial’ and Post- Apartheid era”. The Band-Aid strips are the  misnomer of the so-called ‘flesh’ colour. The pink adhesive bandages point out  that society is still white-orientated and that it is impossible to buy a brown  bandage. The works makes a clear statement of the deep wounds left by  Apartheid. Goniwe said, “We need to rupture white privilege and open up a two way dialogue.” From the work we learn that it was not for the racial constructs (symbolised in the pink bandage) that create a division between the two races,  that the two-way dialogue is very much a possibility. As ‘white’ Payne is dressed  in black and placed against a dark background and ‘black’ Goniwe is dressed in  white and placed against a white background. Both share a lot of each other.
Churchill Madikida is a conceptual artist who makes use of a range of  contemporary media such as video, photography and installations. 

FIGURE 6b are stills from his video work titled Struggles of the heart. The  video work starts with sound and a click of the tongue that speaks of the  Xhosa language. The stills show a white covered face of an initiate  (Madikida) whose creased face appears to have porridge forced into his  mouth. The stills also speak of him choking and forcing it out. His eyes are  pressed tightly closed in concentration and the mouth is wrinkled in pain.  
The consumption and regurgitation of pap is a metaphor for the initiation and  circumcision of young males in the isiXhosa tradition. Madikida’s face is  painted white, which refers to the spiritual realm of purity. The video shows  how the tradition of initiation is force-fed to him and how he rejects it. He  therefore questions his identity as an isiXhosa man. 
Learners to choose from the two artworks which work they think makes the  strongest impact and give reasons for their choice. (8) 

6.2 Candidate to choose TWO works done at a formal or informal  school and to discuss these. THEY MUST NOT CHOOSE THE  SAME WORKS AS ON THE QUESTION PAPER.  
Learners to pay attention to art elements, compositional arrangements  which show modernity or not, and how messages can be interpreted from  the imagery. (12)

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QUESTION 7: GENDER ISSUES 
FIGURE 7a is a self-portrait by the artist Frida Kahlo. The Mexican artist’s personal  life and history is directly portrayed in her art. Her work bears harrowing witness to  her own physical and mental suffering. Nandipha Mntambo’s work ‘Emabutfo’ on the  other hand deals with the representation and perception of the female body. 

7.1 With reference to the statement above and FIGURES 7a and 7b, learners  must discuss the possible meanings of these two works and how their work  pertain to gender issues and gender identity. They must refer to the following: 

• Use of title  
• Subject matter 
• Composition  
• Style and approach 

Both titles are directly portraying/depicting gender-related topics.

FIGURE 7a:  
Frida’s work bears harrowing witness to her own physical and mental  suffering after getting involved in a road accident when the bus she was  travelling on collided with a tram. In this painting, The Broken Column, Frida  expresses her anguish and suffering in a most straightforward and  horrifying way; she opens her torso to reveal a fractured column  symbolising her injured spine making the split look like an earthquake  fissure. The nails are stuck into her face and whole body. In the background  is the earth with dark ravines. At the beginning, she painted herself nude  but later covered her lower part up with something that looks like a hospital  sheet. A broken column is put in place of her spine, hence the title The  Broken Column.  
The column appears to be on the verge of collapsing into rubble. Penetrating  from loins to chin, the column looks phallic, and the sexual connotation is all  the more obvious because of the beauty of Frida’s breasts and torso. Her  broken body is supported by a steel corset. This is one of her most direct  portrayals of her suffering – she cries white tears an expression of pain and  suffering. Notwithstanding the portrayal of physical suffering, she retains her  femininity seen in her long loose hair and exposed breasts showing she is still  a sensual woman. Often in her work, the portrait is centralised to confront the  viewer. She places herself against a background of an empty landscape,  which could be symbolic of her life and yearning for a child. 
Her work is a mixture of naivety, naturalism and Surrealism with strong  Mexican folk Influences. Generally her face and figure is painted  naturalistically but the nails on her body and split in her torso reveals the  broken and the barren background that gives the work an aura of  surrealism. 

FIGURE 7b: The title of the work Emabutfo means warriors from the Swazi  regiments to the royal residence of the king. The title makes reference to  the cow hide moulds of her body that are displayed hanging in ranks like  regiments marching to war. The tail hides hanging from the sides in the  place of arms allude to the traditional hairy hide bands worn by both Zulu  and Swazi warriors. But the hides are not of men but of females who are  hairy. The hide forms become empty floating receptacles, at once beautiful  and repulsive. These hairy feminine shapes defy our notion of feminine  beauty. Their naked form reverberates nudity of the female form that is  seductive and attractive but the fact that it is hairy, it becomes repulsive.  The hairy skin cast in form, is used, to challenge and subvert  preconceptions regarding representation of the female body and to disrupt  perceptions of attractions and revulsions. Although the focus is on the  human female body and identity in sculpture, it critiques the politics and  aesthetics of femininity and beauty and is suggestive of the ways in which  (black) women are re-interpreting their bodies and claiming visibility.
Nandipha has developed a distinctive aesthetic through her use of cowhide  which she tans and moulds onto a casts of her body. She purchases the  hide when it is as raw as possible in order to engage fully with the material  – its smell, its textures causing revulsion but also provoking a  consciousness of the physicality of it. She makes plaster moulds of her own  body and envelops them with the still malleable cowhide that she has  thoroughly cleaned and cured. The hide forms become empty floating  receptacles, at once beautiful and repulsive. (8) 

7.2 Learners to write an essay of at least 1½ pages, discussing the work of any  TWO artists they have studied, who question gender identity. They must refer to specific works of art in their answer, which do not appear in this question  paper. 
The following must be included in their discussion: 

• Name of artists and titles of the work 
• Influences 
• Visuals that relate a questioning of gender identity 
• Use of material and style 
• Content and meaning 

Award marks for each of the two works as from 6 + 6. (12)

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QUESTION 8: ARCHITECTURE IN SOUTH AFRICA 
“Africa is land under construction and local talent have stepped forward to shape  the landscape. There is a lot of very good indigenous knowledge on the continent.”  says Iain Low, professor of architecture at the University of Cape Town. 
8.1 Considering the above-mentioned, study FIGURES 8a and 8b, and consider  its relevance in its own time as an example of innovative architecture. Write  an essay of one page, in which you evaluate the innovative  accomplishments. You may include thoughts on the following: 

• Principles of design applied 
• Influences and creative thought 
• Peculiar characteristics 
• Aims and effective functionality 

The building stands like a sculptural beacon giving a special identity to the  site. The ground floor provides 106 square meters of gallery space. A metal  fire escape which is separate from the building leads down from the top  floor. It allows for creepers to be grown up its length which connects the  building to nature aesthetically as well as improving the supply of oxygen.
There is an adjoining deck which offers views of Jan Smuts Avenue and the  surrounding leafy suburbs. The five hundred tall aluminium slats which form  the spiral are fourteen meters high and totally encase the three-storey  building. 
The building has a dramatic spiral shape and together with the illumination  at night was designed to attract passers-by. 
Further eco-friendly factors are the electricity produced by means of voltaic  panels. Solar heating is used to heat the water. Rainwater is harvested and  used for everything, except for drinking. (8) 
8.2 In an essay of approximately 1½ pages, learners to clearly analyse TWO  commemorative structures a South African architect/s. Discuss the shapes,  materials and design which place them in a category of outstanding impact. 
The following aspects may well be relevant: 

• Names of architects/companies and buildings 
• Special features 
• Peculiar materials, technology and design 
• Ecological considerations 
• Environmental issues 
• Functionality (12)

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TOTAL: 100

HOSPITALITY STUDIES
GRADE 12 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FOUR sections.
   SECTION A: Short questions (all topics) (40)
   SECTION B: Kitchen and restaurant operations
                         Hygiene, safety and security (20)
   SECTION C: Nutrition and menu planning 
                         Food commodities (80)
   SECTION D: Sectors and careers
                        Food and beverage service (60)
2. Answer ALL the questions in your ANSWER BOOK.
3. Read ALL the questions carefully. 
4. Number the answers correctly according to the numbering system used in this  question paper. 
5. Start each section on a NEW page. 
6. Write neatly and legibly.

QUESTIONS 

SECTION A 
QUESTION 1 
1.1 MULTIPLE-CHOICE QUESTIONS 
Various options are given as possible answers to the following questions.  Choose the correct answer and write ONLY the letter (A–D) next to the  question number (1.1.1–1.1.10) in your ANSWER BOOK, for example 1.1.11 D. 
EXAMPLE 
1.1.11 Small containers used for keeping salt, pepper, vinegar and  oils are ... 

1. cups.
2. crates.
3. basins. 
4. cruets. 

ANSWER: 1.1.11 D. 
1.1.1 … is a red wine cultivar. 

1. Chardonnay
2. Merlot
3. Brut
4. Columba (1) 

1.1.2 A method of marketing communication where a well-known film  star is used to talk about a product on TV. 

1. Publicity
2. Famous
3. Promotion
4. Personalising (1) 

1.1.3 The term used to describe the edible organs and intestines of an  animal: 

1. Offal
2. Calf fat
3. Insides
4. Organs (1) 

1.1.4 A non-revenue generating area in an accommodation  establishment is the … department. 

1. restaurant
2. bar
3. marketing
4. room (1)

1.1.5 In a… meringue, sugar syrup is added into beaten egg whites. 

1. German
2. Italian
3. French
4. Swiss (1)

1.1.6 A chemical used for preserving food is called … acid. 

1. benzoic
2. aspic
3. acute
4. folic (1)

1.1.7 One of the symptoms of gastro-enteritis is … 

1. short breaths.
2. dry coughs.
3. yellow stools.
4. abdominal pains. (1)

1.1.8 The type of cultivar that is best served with fish. 

1. Shiraz
2. Chardonnay
3. Merlot
4. Pinot Noir (1) 

1.1.9 Piercing small holes into the raw pastry to allow trapped air to  escape is known as … 

1.  cutting.
2. casing.
3. trapping.
4. docking. (1) 

1.1.10 Informing the target market about the products and services that  are on offer, is known as … 

1. selling.
2. marketing.
3. awareness.
4. presentation. (1)

1.2 MATCHING ITEMS 
Choose the description from COLUMN B that matches the technique in  COLUMN A. Write ONLY the letter (A–G) next to the question number  (1.2.1–1.2.5) in your ANSWER BOOK. 

(5 x 1) (5) 
1.3 MATCHING ITEMS 
Match the description in COLUMN A with the correct special equipment in  COLUMN B. Write ONLY the letter (A–G) next to the question number  (1.3.1–1.3.5) in your ANSWER BOOK. 

(5 x 1) (5)
1.4 ONE-WORD ITEMS 
Give ONE word(s) or term for each of the following descriptions. Write  ONLY the correct word/term next to the question number (1.4.1–1.4.10.) in  the ANSWER BOOK. 

1.4.1 An item served after the fish course to cleanse the palate. 
1.4.2 The information that includes the company’s name, public image,  logo and uniforms 
1.4.3 A group of people who are likely to buy your product. 
1.4.4 A disease that results in infection of the stomach lining. 
1.4.5 Unwritten code of behaviour and set of attitudes followed by food  service workers 
1.4.6 A condition that occurs when the immune system reacts to certain  types of food 
1.4.7 Platters of vegetables that are cut into smaller portions and served  with a dip 
1.4.8 Small savoury items that are prepared from a wide variety of food, usually served at a cocktail function 
1.4.9 Intra-muscular fat that is spread throughout the muscle 
1.4.10 The type of wine that is best served with caviar and oysters (10)

1.5 CHOICE ITEMS 
Choose FOUR to be kept in mind when setting up tables from the list below.  Write ONLY the letter (A–G) next to the question number (1.5) in the  ANSWER BOOK. 

1. All tables must be numbered.
2. Set covers according to the menu items to be served
3. Place all forks from the right side of the cover for the left hand guests.
4. Spacing between tables should allow waiters to move around easily.
5. Arrange separate tables for female and male guests.
6. Position the main course’s cutlery 4,5 cm from the edge of the table.
7. Table numbers should be removed once all guests are seated. (4 x 1) (4) 

1.6 CHOOSE FROM THE LIST 
Select the TWO correct examples for each of the following desserts. Write  only the letters (A–H) next to the question number (1.6.1–1.6.4) in your  ANSWER BOOK. 

1.6.1 Bavarian cream (1)
1.6.2 Meringue (1)
1.6.3 Baked custards (1) 

1. 1. Pavlova
   2. Créme brûlée
   3. Lemon chiffon 
   4. Charlotte Russe 
   5. Créme caramel 
   6. Charlotte Royal 
   7. Baked Alaska 
   8. Parfaits (6 x 1) (6)

TOTAL SECTION A: 40

SECTION B: KITCHEN AND RESTAURANT OPERATIONS; 
HYGIENE, SAFETY AND SECURITY 
QUESTION 2 
2.1 Study the picture below and answer the questions that follow. 

2.1.1 Explain TWO ways in which alertness and co-operation can be  achieved at Ingwe Hotel. (3) 
2.1.2 Determine how good service delivery in the above hotel will impact  on its profitability. (3) 
2.1.3 Outline THREE points on how computers will benefit the chef at  Ingwe Hotel during menu planning. (4) 

2.2 Outline THREE benefits of making online reservations. (3) 
2.3 

2.3.1 Suggest TWO ways of how cholera transmission takes place. (2)
2.3.2 Name TWO symptoms of cholera. (2)
2.3.3 Recommend THREE ways, to prevent the transmission of cholera. (3)

TOTAL SECTION B: 20

SECTION C: NUTRITION AND MENU PLANNING;  
FOOD COMMODITIES 
QUESTION 3 
3.1 Study the scenario below and answer the questions that follow. 

3.1.1 Suggest the type of function that could be suitable for the artists in the  above scenario. (1) 
3.1.2 Give FOUR advantages of having the function in QUESTION 3.1.1. (4)
3.1.3 Evaluate the suitability of the above menu for a diabetic person. (3) 
3.1.4 Calculate the following cost using the information in the above  scenario. Show ALL calculations. 

1. 1. Selling price of the menu (3)
   2. Gross profit (3)
   3. Cost per person (2) 

3.1.5 Identify THREE pastry dishes from the above menu and suggest the  type of pastry used in each dish. Tabulate your answer as follows:   (6) 

3.2 Outline FOUR general rules for preparing pastry. (4)
3.3 Study the picture below and answer the questions that follow. 

3.3.1 Identify the dish in the above picture. (1) 
3.3.2 Name TWO cuts from the lamb carcass from which the above dish  can be made. (2) 
3.3.3 Suggest a method of cooking for the above dish. (1) 
3.3.4 Recommend the sauce that could be best served with the above  dish. (1) 

3.4 Briefly explain how the loss of sarcoplasm can be prevented when preparing  meat. (3) 
3.5 Explain the following processes that are applied when preparing meat:

3.5.1 Trimming (2)
3.5.2 Barding (2) 
3.5.3 Sealing. (2)

[40]

QUESTION 4 
4.1 Study the scenario below and answer the questions that follow. 

4.1.1 Identify the type of vegetarians the two SGB members are. (1)
4.1.2 Mention TWO important nutrients found in beans and lentils. (2)
4.1.3 Give THREE reasons why people become vegetarians. (3) 
4.1.4 Provide reasons for the following precautions when preparing  beans: 

1. 1. Sort the dried beans (1) 
   2. Soak the beans in water before cooking (1) 
   3. Always discard the soaking liquid and cook beans in fresh  water (1) 

4.2 Briefly explain why textured vegetable protein is beneficial for health reasons. (2) 
4.3 Study the picture below and answer the questions that follow. 

CHURROS	ECLAIRS

4.3.1 Name the pastry used to prepare the above product. (1)
4.3.2 Explain the term ‘Churros’. (2)
4.3.3 State THREE quality characteristics of the above product. (3)
4.3.4 Supply reasons for the following precautions when baking éclairs.

1. 1. Bake at 200 ⁰ C for a short time. (1)
   2. Reduce the temperature to 180 ⁰ C. (1)
   3. Allow the steam to escape by piercing with a testing pin. (1) 

4.4 Study the picture below and answer the questions that follow. 

4.4.1 Identify the method of preservation used in the above product. (1)
4.4.2 Explain how this preservation method is done. (2) 
4.4.3 Supply THREE reasons why the method mentioned in  QUESTION 4.4.1 preserve food. (3) 
4.4.4 Identify THREE types of labelling information visible in the above  product. (3) 

4.5 Name TWO other products where the method of preservation in  QUESTION 4.4.1 can be used. (2) 
4.6 

4.6.1 Explain the term ‘mousse’. (2) 
4.6.2 Briefly discuss THREE processes you will follow when working with  gelatine. (6) 
4.6.3 Suggest the garnish you will use when presenting the dessert. (1)

[40] 
TOTAL SECTION C: 80

SECTION D: SECTORS AND CAREERS;  
FOOD AND BEVERAGE SERVICE 
QUESTION 5 
5.1 Study the following scenario and answer the questions that follow. 

5.1.1 Identify the target market for Angela’s business. (3) 
5.1.2 Evaluate how the information in the scenario will help Angela to  compile her business plan. (5) 
5.1.3 Name THREE ways in which Angel can promote her business. (3)
5.1.4 Classify the marketing tool that Angela will be using. (1) 
5.1.5 Give THREE entrepreneurial opportunities available for Angela in the hospitality industry. (3) 
5.1.6 Briefly explain the characteristics that her posters should have in  order to be effective. (5) 
5.1.7 Recommend THREE ways in which Angela’s café will benefit the  local economy. (3) 

5.2 Name THREE non-revenue generating areas in the Hospitality establishment. (3) 
5.3 State FOUR roles and responsibilities of an accountant in the hospitality  establishment. (4)

[30]

QUESTION 6 
6.1 Study the pictures below and answer the questions that follow. 

A	B
C	D

6.1.1 Suggest the type of beverage to be served in the above glasses  A and B. (2) 
6.1.2 Name the procedure performed in picture D above. (1)
6.1.3 Briefly explain how the procedure in D should be performed. (4) 
6.1.4 Identify and explain the information that appears on the wine label  in picture C. (3 x 2) (6) 
6.1.5 Evaluate the suitability of the type of wine in the wine label for a  beef stew. Motivate your answer. (3) 

6.2 Explain how you will prepare a built cocktail. (3)
6.3 

6.3.1 Explain how you would perform mise en place at the restaurant. (3) 
6.3.2 Outline the procedure a bar man must follow when clearing the  bar. (4) 
6.3.3 Explain how you will handle a drunken customer in the restaurant. (4)

[30] 
TOTAL SECTION D: 60 
GRAND TOTAL: 200